Frédéric Chopin (1810-1849)
Scherzo No. 1 in E minor, Op. 20 (1830-34?)
Scherzo No. 2 in B flat minor, Op. 31 (1837)
Scherzo No. 3 in C sharp minor, Op. 39 (1838-39)
Scherzo No. 4 in E major, Op. 54 (1841-42)
Polonaise-fantaisie in A flat major, Op. 61 (1846)
Andante spinato, Op. 22 (1834)
Grande polonaise brilliante, Op. 22 (1831)
Fantaisie-impromptu in C sharp minor, Op. 66 (1834-5)
Valentina Lisitsa (piano)
rec. 2021, Mosfilm Studios, Moscow
NAÏVE V7700 [66]
This is among the finest piano recitals to come my way for a very long time. Not only has this pianist made her mark firmly in the world music world, but she is also a great artist in her interpretations of the classical and Romantic repertoire. The Kyiv-born Valentina Lisitsa has a solid background and knows how to express herself; she has a strong, vibrant personality, and a dazzling flair for making one sit up and listen, bringing a refreshing outlook to what we consider familiar repertoire.
In her interview in the booklet notes, Lisitsa explains that Chopin has been in her repertoire from childhood but her experiences in the last few years have undergone a fundamental change. ‘I was going through the darkest days of my life.’ During the pandemic, she was isolated from her family and, most tragically, lost her mother without the opportunity of bidding farewell to her or to attend her funeral. As she says, she found herself an orphan, and turned to the composers that she calls her ‘roots to hold onto: Rachmaninoff and Chopin.’ Her maternal grandfather was Polish, and her mother self-identified as a Pole despite having lost her father at an early age. She believes that she has ‘inherited not only her appearance but also the best of her character. This project is dedicated to her.’
Lisitsa adds that ‘as a result of this period of anxiety and perplexity at the “brave new world” that seems to have appeared like an uninvited guest’, her readings are intensely dramatic and forceful with a rarely heard trauma and angst in her playing. ‘This album helped me to come to terms with myself, to make myself whole, to close the wound.’ It is interesting that she mentions the great Russian pianist Vladimir Sofronitsky as one of her mentors in ‘thinking outside the box, to question, to search.’ During the pandemic, Lisitsa had much free time with no concerts, so she rediscovered Josef Hofmann’s recordings. ‘Playing live, through an obsolete mono recording, he managed to soar over the orchestra and project the most beautiful piano tone.’ She explains that she changed her touch, fingering and hand technique so as ‘to try to achieve the beauty and clarity of sound, the unique sound print that is definitely present in vintage recordings, on which you can unfailingly name the pianist, the singer or the violinist. That’s something we have lost in our pursuit of perfection.’
Of the works on this CD, only the Scherzo No 2 was previously in her repertoire, and certainly her remarkable playing often makes the Scherzos sound modern in their directness and energy. From the opening two chords played fortissimo of the Scherzo No. 1, it is clear that Lisitsa approaches this music with a dynamic, almost shocking expression in the explosive chords which fall on one’s ears. In the middle section in B major, we hear an old Polish Christmas song before the dramatic coda molto piu lento, and Lisitsa superbly articulates the spectacular four octaves before the plagal cadence ‘Amen’. On hearing this technically challenging piece, it becomes clear that she looks on this work quite differently from many other pianists; making maximum use of her superb technique, Lisitsa presents a mysteriously focused picture of a world in darkness, with only occasional sparks of light bursting through. The image is somewhat distinct in the Scherzo No. 2, which Schumann said was ‘overflowing with tenderness, boldness, love, and contempt.’ Lisitsa brilliantly opens on two pianissimo chords sotto voce, portraying all the darkness and light of this beautiful piece. In the Scherzo No. 3, in the grand Lisztian manner, she superbly articulates octaves in a pent-up energy, as Louis Kentner once said, sounding like ‘a Wagnerian melody of astonishing beauty […] in the apocalypse orchestra of Valhalla.’ Lisitsa is stunning in vividly expressing the intense cyclical octaves. In Scherzo No. 4, she is extraordinary in bringing out all the vivid, fiery form of Chopin’s writing, and sensitive in the Polish folk song in the trio of the middle section. Some listeners will not respond to these readings, and her treatment of this music; Romanticism is far distant - for in her playing, we are in a different idiom. She is forceful in her approach to the scherzos, finding elements which few others find. For anyone who loves Chopin’s music, this may be revelatory and it may take a while before Lisitsa’s performances are understood and appreciated. The other pieces on this well-filled disc are exemplary and often stunning in their expressive playing; one wants to listen to these again and again. For the many thousands of her fans world-wide, this new release will be obligatory and represents a major step in her musical career. The booklet includes an interview in which she describes her approach to making these recordings and a biography in French, English and German. The disc is produced to the exceptionally high standards expected of this company.
This outstanding new disc is recommended for its mastery in both technical performance and for Lisitsa’s refreshing approach to music that we thought we knew. I, for one, will frequently return to it.
Gregor Tassie
