| 17th October 2009, on the day of the 160th anniversary of the death of a brilliant Polish composer, Frederic Chopin, Krzysztof Małek performed a recital in Normanhurst under the patronage of Ewa’s Cottage, sponsored and organized by Dąbrowa Gallery.
Those who do not know the magnificent pianist; last year, thanks to the Distinguished Talent Permanent Residency, Krzysztof Małek has settled in Australia. Let us recall in short his artistic career. Krzysztof studied in the F. Chopin Music Academy in Warsaw as well as in the Academy of Music in Vancouver. Later he studied grand piano in the famous Australian Institute of Music in Sydney. He has won prizes in many piano competitions, such as the International Chopin Competition in Vilno in 1999, the International Competition in Lódź (2001) and the Chopin Competition in Sydney (2007).
Mr Małek has received a scholarship from the Polish Ministry of Culture and played the role of Chopin in a motion picture. He performed in nearly 20 countries, has made numerous recordings for radio and television in Europe, Australia and America. His Saturday recital begins a cycle of Intimate Soirees with Music, with scenery typical for music from the romantic epoch. One may recall that Chopin had performed in the salons of Paris and the aristocratic residences of England and Scotland.
Mr Małek began his recital with a ballad in g-moll, the first of four ballads, the outline of which was already in existence in 1831. The war in progress between Poland and Russia was ignited by the conspiracy of Officer Cadets in November of 1830. By then Frederic had been in Vienna for a week and after several months, travelled through Salzburg to Munich, and while in Stuttgart (on 8th September) he received the tragic news of the fall of Warsaw to the Russians. He reached Paris the same month. The city became his home, his second “motherland”, the place of his greatest triumphs, and finally his death. However, it was Poland that remained his “dream/country”, and in Warsaw rests his heart.
From the first tones of the ballad Krzysztof captured our hearts. The chords climbing on the arc of melody, moments later to fall and gently float, then again wind in agitato, crashing in a cascade of pearls, returning as if to a peaceful nest. Over the nest sings the entrance theme, it explodes with painful longing. Then suddenly it seems, the wind is chasing pearly drops of rain, again the theme revisits to agitato/forte, to melt in pianissimo and returns in cascades of fortissimo, crowning its gallop in octaves of luminous storm.
This is a miniscule description of the tone of the Ballad, the secret of which, even Schumann was unable to transcend, formulating his risky argument that Chopin yielded to the influence of the poetry of the master Adam (angeregt durch Dichtungen von Mickiewicz).
From then on some musicologist attributed to all Ballads an appropriate program, and the source of Frederic’s inspirations were supposed to be Mickiewicz’s ballads. This enticing hypothesis was never proven and Chopin’s genius was too special to set perimeters to his composing on literary background. However, it is certain that he introduced the ballad form into the history of music.
The second composition of the evening was Nocturne c-moll op.48, composed in 1841. Its concept transgresses somewhat beyond the structure of a “nocturne”, the unusual pathos can be distinguished from the tone of similar compositions, but at the same time, how wonderful in the end, is the dominating theme over the pathos. Krzysztof brings it out superbly, being able to turn around the sense of Schumann’s known words about Chopin’s music (cannons hidden within flowers) and makes the flowers rule over the cannons.
Krzysztof Malek playing at Ewa's Cottage. Photo Bogumila Filip |
The first part of the recital concluded with the commonly liked Polonez A – dur op.53, known as “Heroic”, in which can sometimes be heard the hoof-beats of galloping horses (to quote a verse from Homer), and the dancing topic grabs the souls of the audience.
After the interval we heard the Sonata no 2 b-moll (from 1844) op.35, which deviates by far from the classical templates of this form. Even the romantic Schumann did not understand this, proposing instead of “the Funeral March” some “adagio”! However it was the Marche Funebre which was the seed and the root of this Sonata; it was born before the other parts of the composition.
This is how one of the most magnificent compositions of the world’s Grand-piano Music was born, in which the colours, the passion, the fascination and dreams reach the clearest intensity. The Funeral March moves into Presto, as often has been written, crowning the whole, sounding like the wind flying over the graves. It seems, however, that this breeze is rather the rising of the soul freed after death, lifting it high into the cosmos, to everlasting life.
The magical rendition of Chopin’s compositions caused frenetic applause. For an encore Krzysztof played with passion Prelude no.24, yet again demonstrating his wonderful technique and the deep feeling of Chopin’s interpretational intentions. George Sand wrote very precisely about Chopin’s style: His music is full of nuances, surprises, sometimes secretive, complicated. Chopin’s genius is deepest in passion and emotions of all that existed. That is how it was and Krzysztof Malek’s interpretations show him not only as a virtuoso but also his ability to deeply experience Chopin’s visions.
An entry in the album after the concert: Emotionally and technically – a dream (Sylvia Moffitt).
What a concise review!
Mr Małek is surely Australia’s artistic pride, and his recital in these colourful homely and garden scenes was reminiscent of the atmosphere of concerts in the Polish nobility manors. Internal decorations, stylish knick-knacks and the beautiful floral arrangements created a charming background to the music.
The pianist was introduced with much charm by Ms Barbara Dąbrowa, the living attraction of Dąbrowa Gallery. We are grateful to the initiative of this Gallery for such an exceptional concert and the idea for organizing a series of recitals by Krzysztof, in order that his talent may be appreciated by a circle of many more music lovers. Expressions of gratitude are due to Ms Ewa and Ewa’s Cottage, where the concert was performed in such an outstanding atmosphere.
Let's thank to all those who helped to bring this concert to fruition,for the flowers, for extra chairs and for the recording. Hopefully, we will have a CD available soon.
After the emotional experiences of the soul, we were invited to partake of the scrumptious and delectable titbits, wines, cheeses and cakes of such rare quality, that one needs to thank again and bow deeply to lady of the house. The next recitals will give us another opportunity for personal contact with the artist - for conversations with Krzysztof with a glass of wine in hand.
Marek Baterowicz
Translated by
Danuta (Denise) Nowakowski
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