Frédéric CHOPIN (1810-1849)
Nocturne in E flat major, Op. 55 no. 2 [5:07]
Impromptu in G flat major, Op. 51 [4:23]
Étude in A minor, Op. 25 no. 4 [1:30]
Polonaise-Fantaisie, Op.61 [11:15]
Prelude in C sharp minor, Op. 45 [4:11]
Étude in A flat major, Op. 10 no. 10 [1:50]
Mazurka in C minor, Op. 56 no. 3 [5:24]
Mazurka in F minor, Op. 63 no. 2 [1:34]
Mazurka in B major, Op. 56 no. 1 [3:51]
Scherzo no. 4 in E major, Op. 54 [9:07]
Piano Concerto No. 2 in F minor, Op. 21 [26:14]
André Tchaikowsky (piano)
Warsaw Philharmonic Orchestra/Zdzisław Górzyński
rec. February–March 1955, Warsaw Philharmonic Concert Hall, 5th
International Chopin Competition. Polish Radio
FRYDERYK CHOPIN INSTITUTE NIFCCD045 [77:45]
This release is part of the ‘Blue Series’ project by the
Fryderyk Chopin Institute, which features performances by some of the
high profile pianists who have taken part in the International Chopin
Piano Competition. In this case the pianist is the Polish André Tchaikowsky
(1935-1982). A general overview of the composer/pianist is laid out
in my
review of his biography: A Musician Divided - André Tchaikowsky
in his Own Words by André Tchaikowsky and Anastasia Belina-Johnson
(Toccata Press, 2013). Tchaikowsky entered the fifth International
Chopin Piano Competition in 1955, where he came eighth; Adam Harasiewicz
from Poland came first. A year later he took part in the Queen Elisabeth
Music Competition, winning third prize. These recordings emanate from
the archives of Polish radio and document three stages of auditions
that took place in February and March of 1955.
Tchaikowsky’s commercial listings amount to only ten records,
made for RCA Victor and Columbia at the start of his career. There are
several reasons for this meagre legacy. He was renowned for being a
difficult, uncooperative and, at times, abrasive personality and this
in turn alienated him from conductors and record producers. His shortcomings
likewise affected his concert career, especially in the States. He had
an intense dislike of the social mores of the concert-giving circuit,
and especially the patronage of the arts in America at the time by rich
socialite women. Live airings pop up from time to time, all helping
to enrich, expand and fill in the lacunae of his discography. As well
as these Polish recordings, I recently reviewed
some German radio broadcasts taped in the early 1960s and newly released
by Meloclassic.
The pianist didn’t record the Chopin Concerto No. 2 commercially,
so this live airing is of significance. Tchaikowsky shows himself to
be no shrinking violet in this music. From the opening bars of the first
movement he’s forthright and assertive and plays with commanding
authority. Górzyński makes the most of the composer’s rather
weak orchestration by emphasizing the colours and textures. The slow
movement is particularly successful. Tchaikowsky doesn’t court
vulgarity by wallowing, but invests the music with nobility and reverential
refinement. The finale is briskly paced, and there’s a tangible
infectious energy which has exceptional appeal. Judging by the enthusiastic
applause, the audience certainly enjoyed it.
As for the solo items, there are several gems. In the E flat Nocturne
Op. 55 no. 2, Tchaikowsky contours the long melodic lines with tender
lyricism, whilst the buoyant rhythmic gait of the G flat Impromptu sweeps
you along. The breathtaking virtuosity he brings to the two Études makes
me wish he’d set down commercial inscriptions of the two cycles.
The technically challenging 4th Scherzo is adeptly rendered
if on the fleet-footed side. The enchanting Polish folk song that sits
in the centre is seductive and beguiling. My only reservation is with
the Polonaise-Fantaisie, which doesn’t work for me. I find it
staid and pedestrian and short on poetic insights. Either he was having
a bad day, or it just wasn’t his piece.
For their age, these recordings sound pretty good. This is a highly
desirable release of inspired and captivating performances, caught on
the wing.
Stephen Greenbank
