Weber: Invitation to the Dance, Op. 65; Grieg: Three Lyric Pieces; Schumann: Fantasiestücke, Op. 12; Ravel: Valses nobles et sentimentales, M.61; Chopin: Berceuse in D flat, Op. 57; Scherzo No. 1 in B Minor, Op. 20. Jane Mallett Theatre, Tuesday, March 18, 2025.
Thanks to the venerable presenter Music Toronto, an organization that has brought beautiful music to our fair city for over the last 50 years, piano fans were treated this month to two superlative performances by great Canadian pianists — Illia Ovcharenko on March 4, and Janina Fialkowska on March 18.
Given that the two concerts happened in such close proximity, one can’t help but draw comparisons. In terms of age, there’s an eye-popping five decades separating the two pianists, with Ovcharenko at 23 and in his youthful prime, while Fialkowska, a true Canadian Evergreen, is a venerable 73.
In terms of their artistry, there’s also a most interesting contrast – we have a flashy young pianist with amazing technical prowess in Ovcherenko, versus the well seasoned, “complete-artist” sensibilities of a septuagenarian in Fialkowska. Remarkably, her performance marked her 10th at Music Toronto, where she first played in 1976, a staggering 49 years ago.
A Performance To Honour
Well, based on Fialkowska’s performance last evening, she still has what it takes to dazzle and make the audience stand up and cheer — it was a performance to honour and enjoy.
She opened with the classical and elegant Invitation to the Dance (Weber Op. 65). Fialkowska chose a brisk tempo, the whole piece lasted something like less than eight minutes, fast but not rushed, with a felicitous mix of joyous spirit and the requisite lyricism. A lovely start to the proceedings.
It was followed by three pieces of Edvard Grieg. Once again, these melodically inspired short studies shone under her fingers. Especially the second piece, For dine Fødder (Op. 68 no. 3), with its caressingly gorgeous melody. It was simply balm to my ears.
Then it was on to a lengthier, more weighty work, Schumann’s beloved Fantasiestücke. From its plaintive opening of Des Abends, followed by the agitated Aufschwung, she took us on a wonderful sonic journey of a piece that defines High Romanticism. It was a most satisfying end to the first half.
She opened the second half by speaking to the audience, relating a funny story of her mentor, the late, great Arthur Rubinstein. He premiered Ravel’s Valses nobles et sentimentales, in Madrid, and he was booed! Not that he played badly, but the conservative audience didn’t like “modern music” …ouch! Rubinstein had his revenge by programming it later — as an encore.
Well, in Fialkowska’s deft hands, the Ravel only brought cheers, including from me — her playing was marvellous. The recital ended with two Chopin works, arguably the centrepieces of any Fialkowska recital. She started with Berceuse in D flat, Op. 57, the hushed, supremely lyrical melody sounded truly lovely.
It was thrilling for her to end the recital with a bang — a very musical bang that is! — Chopin’s Scherzo No. 1. This piece requires a big technique, and Fialkowska showed in no uncertain terms that at 73 — going on to 74 in early May — she still has the proverbial big technique. It was a very exciting, virtuosic display at what the great Janina Fialkowska can do, after a good 50 years of a big career.
May she have another 50 years, God willing.
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