BARGAIN OF THE MONTH
Frederic CHOPIN (1810-1849)
Waltz Op. 64 No. 1 in D flat major (1847) [1.37]
Three Ecossaises Op. 72 [2.23]
Four Mazurkas Op. 6 (1830) [9.05]
Impromptu Op. 29 in A flat (1837) [3.54]
Impromptu Op. 36 in F sharp major (1840) [5.46]
Impromptu Op. 51 in G flat major (1843) [5.11]
Fantasie-Impromptu Op. posth. in C sharp minor (1834) [4.56]
Two Nocturnes Op. 27 (1836) [10.44]
Four Mazurkas Op. 17 (1833) [14.01]
Fantasie Op. 49 in F minor (1841) [11.55]
Fantasie Op. 49 in F minor # Full Performers: Leon McCawley (piano)
rec. Champs Hill, Pulborough, West Sussex, 14-15 July 2010
SOMMCD 0103 [70.27]
Leon McCawley has already recorded a wonderful disc of Schumann’s solo piano
music so it is good to see that he has elected to concentrate on Chopin in
the bicentenary year. The contributions to the Chopin celebrations have been
varied but this disc must be among the very best. McCawley’s piano playing
is exemplary throughout: wonderfully clear, expertly articulated and executed,
the virtuoso demands of the works handled with ease, and with beautiful tonal
contrasts.
The opening “Minute’ waltz was charming and graceful while the ensuing Ecossaises
- which are rarely played by pianists nowadays - were light and playful with
their technical demands handled with complete ease. McCawley really captures
the joyous spirit of the dance with these works and the filigree passage-work
is very well executed.
The mood changes with the Op. 6 and Op. 17 mazurkas where McCawley brings
out their melancholy and introspection. Nuanced rhythmic playing, immaculately
judged textural variety and artful articulation serve to bring out light and
shade. McCawley really lifts the melancholy mood with the joyous and rhythmically
playful third Op. 6 mazurka, while the first Mazurka of the Op. 17 set was
wonderfully uplifting and affirming. McCawley ends the two sets with the profound
A minor mazurka where he conjures up an atmosphere of hushed sadness.
McCawley’s virtuoso technique comes to the fore with the four impromptus;
the considerable technical demands of these works were dispatched with complete
ease. McCawley also displays a wonderful sense of classical poise and balance
and brings out the music’s structure and architecture.
The passage-work of the first Impromptu was dispatched effortlessly and there
was some lovely and playful rubato. The second Impromptu had wonderful tonal
contrast. The pastoral opening was followed by a thrilling central march section
but with McCawley maintaining a beautiful tone throughout. The demanding filigree
passage-work at the end of the second Impromptu was played delicately, and
made to sound a seamless part of the thematic material rather than mere ornamentation.
The third Impromptu was graceful and tastefully played. McCawley elected to
have quite a fast tempo for the Fantasie-Impromptu. The right-hand figurations
were delightfully shaped and crafted and melded smoothly into the lyrical
central section.
McCawley’s playing of the two nocturnes Op. 27 was again technically flawless
and the tone alluring throughout. There was some impressive left-hand legato
playing in the C sharp minor nocturne, while the ornamentation in the D flat
was quite exquisite. For me McCawley’s playing of these works was not quite
up there with the very best interpreters such as Rubinstein but very good
nonetheless.
McCawley elects to finish his recital with the F minor Fantasie. This provided
him with an opportunity to display his full technical repertoire: a lovely
tone and phrasing, wonderful and playful tonal contrasts, and virtuoso passage-work
executed with ease. The clarity of the playing was admirable throughout and
once again McCawley brought out the cohesive architecture of the piece.
This is an outstanding recital. I do hope that Mr McCawley will contribute
to this year’s Liszt bi-centenary (2011).
Robert Beattie
An outstanding recital.