| On 15th November, under the cultural auspices of Ewa’s Cottage and Dąbrowa Gallery, the well known pianist Krzysztof Małek gave a performance in Normanhurst (Sydney). This was his second recital in the series celebrating the 160th anniversary of the death of Fryderyk Chopin. The artist began with Fantasy f-moll op. 49, the character of which is akin to ballads and was composed in 1840/41.
Where as the frivolous legend, that the fantasy illustrates the scene of Fryderyk and George Sand’s reunion in the presence of Liszt, can be treated as unfounded gossip. Chopin’s genius didn’t need to look for that kind of inspiration, at most, he might have drawn on a tiny fraction of his experiences, but in reality was reaching deep into some secret realms of sounds, somewhere where sparkling music (like pristine poetry) pulsates in its element. It was this that Mr. Małek was able to portray with great finesse from the first tones of the fantasy, through the contrasts between the dramatic and lyrical episodes, until the last chromatic “avalanche” of sounds.
Then came a breeze from Majorca, as the following numbers of the recital were preludes, which happened to have been composed in a monastery in Valdemosa on a Spanish Island. The pianist chose five preludes (numbers 20 to 24) from a cycle of 24. It was a display of technical expertise and at the same time, beautiful interpretations of these secretive miniatures, possibly most strongly expressing the composer’s state of psyche. According to the musicologists the name “preludes” is rather unfortunate since we are dealing here with a compilation of tonal poetry.
The next number, the nocturne Es-dur op. 55, dedicated to Jane Stirling, the Scottish friend and student of Chopin, who played an important role during the composer’s tour of England and Scotland, was performed by Mr. Małek with great emotion and vibrating colourful tones. She was also supposed to have written a letter to Warsaw in 1850, asking for a box of Polish soil, which was later to be used to sprinkle over Frederyk’s tomb in a Paris cemetery.
To end the first part of the recital we heard Scherzo nr. 3 cis-moll op. 39, dedicated to Adolf Gutmann, a faithful student of Chopin, who was included in his closest circle during the composer’s period of affliction. The same Gutmann was asked by Chopin at a time when indisposed in 1839, to play this Scherzo for Moscheles. The title “scherzo” has no connection with jesting; it is a composition formally closer to a sonata, infused with the romantic spirit of a ballad. Anyone who wasn’t present at the concert has sadly missed a great performance, but listening to the beautiful recording by Van Cliburn – will give some idea of Krzysztof’s superb playing. Of course each artist is a separate individual, but both must be guided by Chopin’s phraseology, which suggests similarity of interpretation.
After intermission, Mr Małek played "Chaconne" by J.S. Bach (arranged by Busonie) showing the subtlety of tone of this composition, which sometimes can entice pianists to look for monumental Baroque effects. Ultimately - compositions by Frederyk’s great friend - Franz Liszt - "Cosolation" no. 3 and "Hungarian Rhapsody" no. 6 – crowned the recital. This evening Krzysztof Małek was truly deeply inspired. It was also felt in the encore (Skriabin) performed with great passion permeating the hearts of the listeners.
Later, music lovers sipping wine in the garden were able to chat with the pianist. Professor Wanda Wiłkomirska was an honorary guest of the recital. The next concert by Mr. Małek will be in December, also in Normanhurst, promising another celebration for the soul.
A Review written by Marek Baterowicz
Translated by Denise Nowakowski
Krzysztof Malek with Prof. Wanda Wiłkomirska and friends. Photo Bogumila Filip |
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