Frédéric Chopin sells a lot of CDs, but that’s not why pianists keep recording the Romantic icon’s music. There is a bargeful of new Chopin recordings every year, but that’s not why people buy them. It’s the magnetism of the music itself that does the work — and here it is at its most seductive.
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Gently lyrical, whistful, troubled, jealous, angry, suicidal, madly in love. Let’s face it, Chopin’s pieces are the bodice-rippers of the music world. But in the right hands, they aren’t pulp but priceless works of art.
Vassily Primakov, the young Russian star who is now gracefully sailing into his 30s, is one of the pianists who will continue to fan everyone’s flames of adoration for the Polish-born composer.
Recorded last May at an unlikely venue, the concert hall at the University of Southern Florida in Tampa, these two CDs contain all three Sonatas — a special treat — four Scherzos and four Ballades.
Primakov’s technique is utterly flawless. He brings an uncommon fluidity to the music. But the magic here is in how he shapes it, in almost constant variations of tempo. He is speaking, telling the world’s most engaging story to us, not merely reading a book (and make no mistake, there are many extra-fine readers out there).
Each piece is its own act of seduction — and even this jaded critic continues to fall for each attempt.
Each listener’s taste is as individual as a pianist’s approach. Those who prefer the easy simplicity of someone like Jan Lisiecki may not enjoy Primakov’s contrivances, no matter how subtle. But I think this album is worth buying anyway, just to fully grasp what a great artist can do with the most familiar of music.
Even Chopin’s awkward and rarely played Sonata No. 1, which he didn’t want published, but was put into print after his death, gets a convincing case at Primakov’s hands (aided by a judicious cut or two in the original score).
You can get all the album details here.
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On the website of LP Classics, a label co-founded by Primakov, the pianist provides a slightly breathless rationale behind making the album. It rings so very true, and reflects the journeys so many artists make with their favourite composer(s):
It is hard to explain my life long attraction to this composer.
It began back in Moscow, Russia. I was 10. The first “big piece” that I tackled with my teacher at the time, Vera Gornostaeva, was the Waltz in E flat Major, Op.18. It was an immense challenge for me. I remember struggling to comprehend what Ms. Gornostaeva was explaining to me — all the nuances of the different sections and the ever so illusive mystery of Chopin’s rubato, his rhythmical gracefulness and so on.
I believe this is when I firmly decided to continue the ongoing search/struggle/affair with this composer.
Since then, I have frequently performed Chopin’s works. Even when my recital programs do not include any of his pieces, I end up playing at least a couple of Mazurkas as encores. There is an emotional and a physical need to have this composer present in my life at all times. That need is driven not just by the love for Chopin’s music, which is apparent, but also by his music’s ability to constantly remind me of my own journey and a desire to continuously grow.
I guess in many ways, it is about the “unobtainable” — the constant journey, constant wandering, constant trying, failing, at times succeeding and then again, continuing the never ending SEARCH! This search is something I have always cherished as an artist, and I sincerely hope that I will always continue this journey – as both, a musician and a human being, no matter what!
In many ways, this present Album (2 Disc Set) represents a stepping-stone. By all means, it is not an album of achievements. It is an album of search! Pieces that have long been dear to me, assembled together for the first time. Therefore, when I recorded these works, I had a very clear vision: which was not to make just a very good studio album where all is clean and tidy, NO!!! Instead, I wanted this to represent my current vision, TODAY’s vision, of these pieces.
My current interpretations — performed not for a studio setting, but the way I would play them on stage! Slightly exaggerated, maybe sometimes faster in speed and with the adrenalin rush that is usually present on stage, but NOT always in a studio, and emotionally truthful and raw.
While listening to these tracks, I asked myself whether I am satisfied? The answer is, of course, NO – but am I happy with how it turned out at this stage of my journey? Absolutely YES.
I know there will be a time when I will look back and possibly criticize my interpretations, but not today. Today, I want to share with my audience and listeners how this music has affected me up to now, and how I have lived through it thus far.
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Here is Primakov at an earlier stage of his relationship with the Op. 38 Ballade No. 1, released on his début DVD, dating from 2009:
John Terauds
- Classical Music 101: What Does A Conductor Do? - June 17, 2019
- Classical Music 101 | What Does Period Instrument Mean? - May 6, 2019
- CLASSICAL MUSIC 101 | What Does It Mean To Be In Tune? - April 23, 2019
