Frédéric Chopin (1810-1849)
Ballade No. 1 in G minor, Op. 23
Ballade No. 2 in F major, Op. 38
Ballade No. 3 in A flat major, Op. 47
Ballade No. 4 in F minor, Op. 52
Scherzo No. 1 in B minor, Op. 20
Scherzo No. 2 in B flat minor, Op. 31
Scherzo No. 3 in C sharp minor, Op. 39
Scherzo No. 4 in E major, Op. 54
Béla Síki (piano)
rec. 1952-1953
FORGOTTEN RECORDS FR1893 [74]
Béla Síki (1923-2020) was a Hungarian pianist. He studied in Budapest with Leo Weiner and Ernst von Dohnányi at the Franz Liszt Music Academy. In 1945 he relocated to Switzerland to study with Dinu Lipatti. A banner year was 1948 when he won the Geneva Competition. This helped launch a career where he travelled across five continents, working with many distinguished conductors and orchestras. In 1965 he moved to the States holding several teaching posts, beginning in Seattle, then in Cincinnati, and finally returning to Seattle to teach at the University of Washington. He remained there until his retirement in 1993. He made several recordings but, as far as I can gather, he left a slim recorded legacy.
Chopin’s Four Ballades, written between 1835 and 1843, are significant linchpins of the piano repertoire, and offer the pianist some of the composer’s biggest challenges. They’re innovative and virtuosic and mark Chopin’s maturity as a composer. Well crafted, they embody the full range of emotions from warmth and intimacy to full blooded heroism. Síki’s brilliant pianism and probing musicianship, stamina and sweep do full justice to these ground-breaking scores. His pedalling is always discreet, and his rubato is always applied with the subtlest of touches. There’s a wonderful sense of atmosphere in the First Ballade. Síki contrasts the stark and introspective sections with the work’s lyrical moments. In the Second Ballade tumultuous, agitated undercurrents are set against sections of rapt and deep serenity. The approach to the Third Ballade is trouble-free and comforting. The Fourth Ballade is the longest and most technically challenging of the four. Síki dispatches the taxing coda with coruscating brilliance.
The Scherzos were penned between 1833 and 1843. Any successful performance must convey their visceral excitement, turbulence, passion, drama and soaring romanticism. Síki gets off to a good start with the opening of the First Scherzo, delivering an anguished cry of pain. He lovingly shapes the central episode, which quotes the old Polish Christmas song, Lulajże Jezuniu. Of the four, it’s the Third Scherzo which is my particular favorite. However, Síki’s cascading arpeggios lack the lightness and pearl-like quality achieved by Martha Argerich at the Chopin Competition 1965 (YouTube). Her reading of the piece has more intensity and drama. This stunning performance, certainly the best performance of this Scherzo I’ve ever heard can be viewed on Youtube. The Fourth Scherzo is the only one in a major key and is far calmer in temperament than the other three. Síki’s performance conveys an overwhelming sense of joy and delight.
The recordings derive from two Parlophone LPs (PMA 1008 and 1011). These expert restorations reinstate significant and stimulating examples of Béla Síki’s art. Although there are no notes, relevant internet links are provided. I hope this release will tempt you.
Stephen Greenbank
