Chopin: Étude Op. 10 No. 7 in C major

10CD boxed set collects all of Berezovsky’s recordings for both Teldec and Warner Classics.

Boris Berezovsky has established a great reputation, both as the most powerful of virtuoso pianists and as a musician gifted with a unique insight and a great sensitivity. He is regularly invited by the most prominent orchestras including the Royal Concertgebouw Orchestra, Frankfurt Radio Symphony Orchestra, Accademia Nazionale di Santa Cecilia (Rome), Danish National Radio Symphony Orchestra, Orchestre National de France and Philharmonia Orchestra (London). He will make his debut with the Berliner Philharmoniker in January 2012 With Teldec, Boris Berezovksy has recorded works of Chopin, Schumann, Rachmaninov, Mussorgsky, Balakirev, Medtner, Ravel and the complete Liszt Transcendental Studies. His recording of the Rachmaninov sonatas was awarded the Preis der Deutschen Schallplattenkritik and his Ravel disc was recommended by Le Monde de la Musique, Diapason, BBC Music Magazine and Independent on Sunday. Boris Berezovsky also won the BBC Music Magazine Awards in 2006.

In October 2004, still with Warner Classics International, the Berezovsky Trio recorded the Shostakovich Trio n°2 and Rachmaninov Trio Elégiaque n°2, which were awarded the Choc de la Musique in France, the Gramophone Award in the UK and the Echo Classic 2005 in Germany. His Solo live recording of the Chopin/Godowsky Etudes, released in January 2006, received the Diapason d'Or and the RTL d'Or.

Samson’s early recordings, dating from the end of the 1940s, were mainly devoted to Frédéric Chopin, who already occupied a prominent position in his concert programmes.

The height of Samson’s art is probably to be found in the ballades (recorded between 26 and 28 October 1954, and first issued as an immensely successful 10" LP) and the dazzling interpretation of the nocturnes (recorded in May and June 1966).

In the ballades and the nocturnes Samson establishes an all-embracing colour with the aid of the loud pedal, although he modulates its power and creates a rainbow effect through the highly skilled, yet quite unpredictable use of the soft pedal. This alternation between the two pedals gives a breathless feeling to his approach. You will never find there the peaceful, semi-philosophical havens, nor the “landscaped” perspectives of neo-Classical pastoralism favoured by so many of his fellow artists, notably in the Fourth Ballade.

Samson strikes a balance between the visual and the narrative. The harmonic suspensions, which form the nub of the ballades, seem as if they are absorbed by this visionary ability, and all that preceded and all that followed could only be narration. Rarely have other pianists taken a similar view, and only Claudio Arrau – in his legendary first recording of the ballades made in 1953 – evolved within this perspective.

The nocturnes, recorded twelve years later, in 1966, possess the same burnished colour that characterises a Rembrandt background, despite the more analytical clarity cast by stereo sound. Once again it is Arrau, who, by voluntarily darkening his range of colours, seems to come nearest to this sultry vision of the nocturnes, while another leading interpreter of the cycle, the Polish pianist Stefan Askenase, was to fix his gaze obstinately in the direction of moonlight and the bel canto aesthetic.

If we are to go by the history of gramophone recording, no other pianist before him had discovered the personal, inimitable accent which Samson gives to the melodic pattern of these works, and which was not to be taken up by any other: over-intimate, perhaps, or over-rhapsodic, it is stylistically close to improvisation. If Samson still seems to be following a given declamatory scheme in the ballades, then the range of styles and expressiveness which he deploys for the abundant inventiveness of the nocturnes, has nothing to do with the innermost nature of the interpreter. For a good decade, Samson did not go back on his beliefs: he reinforced them.

Samson’s life was abruptly cut short in 1970 at a ridiculously early age – he was 46. Neither as pupil nor as teacher did he have any interest in pedagogy. Was this because he chose to keep his distance from all relationship or dependency? There is something of the stateless person in Samson’s pianistic style.

Furthermore, it seems very difficult to compare his art with that of other pianists. However, those French pianists of the new generation who have rediscovered Chopin (in large part thanks to Samson’s recordings), would seem to be in his debt.

Legendary Chilean-American pianist Claudio Arrau was born in 1903. During a career lasting over 60 years, he became one of the most admired instrumentalists of his generation. He was particularly revered for his performances and recordings of Beethoven, Schubert, Chopin, Liszt, and Brahms, but was also renowned for his interpretation of early 20th century music, especially that of Debussy. He died in Mürzzuschlag, Austria in 1991.

Claudio Arrau was born on 6th February 1903. Such was his prodigious talent that he gave his first public recital in Santiago at the age of five.

When he was nine he was sent, with support of the Chilean Government, to study in Berlin where he was a pupil of Martin Krause at Stern’s Conservatory for six years, he never went to another teacher.

He received many awards during his student days such that his name was already in circulation when he gave extensive tours in Germany and Scandinavia following his first recital in Berlin in 1914. He embarked on a tour of Europe after WW1. Conductors of the highest calibre – Nikisch, Mengelberg and Furtwängler amongst them – accompanied him.

After a successful return visit to his homeland in 1921 he visited London the following year where he appeared in a concert with Dame Nellie Melba and Bronislaw Huberman, the violinist who, at the age of 14, had won Brahms admiration for his performance of his concerto. In 1923 he toured the USA.

He joined the staff of Stern’s Conservatory in 1924 and taught there until 1940. In Berlin he played the complete works of Bach over 12 concerts but decided that the piano was not the instrument for these works and never played them in public again. Leaving Berlin in 1940 he returned to

Chile, where in its capital, Santiago, he founded a piano school. It was whilst on a highly successful tour of the USA during the following year that he decided to settle his family in New York.

Arrau’s reputation is built on his special affinity for the music of Brahms, Schumann, Liszt, Chopin and, above all, Beethoven whose complete sonatas he played in many major cities. His performances had all the virtuoso technique required but it was accomplished without the least ostentation; for him the music was what should remain in the audience’s ear and should not be disturbed by the flamboyance of the pianist in the audience’s eye.

Twenty years have passed since he departed but these recordings will bring back happy memories for all those lucky enough ever to have attended his concerts.

Of all the great 19th century composers, none devoted their creativity exclusively on just one instrument, except Frederic Chopin. Every work of his is for the piano and aside from the concertante works only a handful is for piano and a second instrument, or piano and voice.

Chopin’s idol was Mozart, and the refined, romantic style he developed was as a result of both a thorough knowledge of Mozart and his pupil Hummel, who concertos and sonatas had a great influence on the young Chopin. The Irishman John Field who invented the Nocturne, and the showman of the piano Friedrich Kalkbrenner also played a part in the creation of Chopin’s unique musical personality.

The Nocturnes, Etudes, Preludes, Waltzes, Mazurkas, Polonaises, Ballades, Scherzos, the Fantasy and the Sonatas 2&3, the cello sonata and the two concertos rank among the very pinnacle of 19th century compositions for the piano. The popular image of Chopin as a slightly effeminate and sickly individual could not be further from the truth. The music on these discs is not the product of a gentle, retiring creature. It is passionate, turbulent, dramatic and at time violent as well as elegant and polished. Chopin, like his music is complex, highly individual and a mass of contradictions.

Some of the most famous piano music in the world is to be found on these CDs. From the ‘Minute Waltz’to the Raindrop Prelude and the Revolutionary Etude – many of these works are instantly recognisable. Recordings includes those made by Chandos (Lortie), Decca (Kocsis, Harasiewicz) with Gilels recorded in 1949 (Sonata No.2)

Chopin is universally acclaimed as one of the most original and innovative composers of music for the piano, especially in the romantic and lyrical field. Much of his music is deeply patriotic and infused with a love of his native Poland. 2010 marks the 200th anniversary of the composer’s birth.

Whilst it is well known that Fryderyk Franciszek Chopin, born in 1810, left his native country of Poland for Paris at 21, never to return, it may be interesting to speculate how much he knew about the country of his immediate forefathers before he left. His grandfather, François, came from a peasant-family which had established itself in the Vosges growing vines. It was in Marainville that Chopin’s father, Nicolas, was born in 1771. It was by chance that the landowner was a Polish Count whose Polish steward befriended him and offered him the chance to improve his prospects in Poland. Thus it was, aged 16, he departed intending it only as a temporary visit but a letter home three years later shows that he was staying to avoid conscription in to the Revolutionary army. His life did certainly improve in Poland, first as a clerk and then in the Polish Guard where he rose to the rank of Captain. He became a children’s tutor for aristocratic families where his knowledge of French proved highly valuable. It was in the service of a Count on an estate near Warsaw that he met his wife and Ludwika was born in 1807 followed by Fryderyk three years later on 1st March. The family then moved to Warsaw where Nicolas became the teacher for French language and literature in the new high school. Two further daughters were born of which one died of consumption at the age of 14.

Although his father taught French he increased his reputation by adopting the language and culture of Poland and this dual national inheritance was crucial in forming the young Chopin’s views and future career. When the boy was only five the final defeat of Napoleon meant that Warsaw was to suffer under the oppressive rule of Russia. As with all prodigies Chopin took to music early, even crying with emotion when his mother played the piano or sang to him. At the age of six he was given a thorough basic knowledge of the music of Bach and the Viennese Classics. He seems to have taught himself how to play the piano and his teacher would write down his improvisations for him. His first to be published in 1817 was a polonaise in G minor (CD 8 [2]). It was dedicated to a Countess, the daughter of his godparents and similar such acts gave him access to the aristocratic salons where his father’s native tongue rather than Polish was spoken, being the language of culture. His music also impressed the military commander of the occupying forces, the Tsar’s brother, who arranged for a march of Chopin’s to be orchestrated and played by his band.

Besides his musical education his other studies took place at the high school where his father taught and he obtained his diploma in 1826.

Before that he had taken lessons with Jósef Elsner who, amongst other things, taught him how to write out his own compositions. His first work given an Opus number was the Rondo (CD 13 [8]) which was published in 1825. The Sonata Op. 4 (CD 13 [1]-[4]) followed in 1828 but Chopin’s real interest at this time were the dance forms of the mazurka and polonaise together with the Rondo. With Elsner he also completed his first Nocturne (later published as Op. 72 No. 1, CD 6 [12]). It was in this year that he had first experience of foreign travel when a zoology professor and friend of his father’s, took him to Berlin. On his return journey he was able to try out the first movement of his piano trio with Prince Antonin Radziwill, a cellist; he was to be the dedicatee of the work. He also completed the first two studies of Op. 10 (CD 10 [2&3]).

The Berlin experience clearly whetted Chopin’s appetite for more as Warsaw, under Russian rule, gave him little chance to hear the latest music although there were the occasional visits by Hummel and Paganini.

In July 1829, after completing his final exams at the Conservatory he set off with three friends for Vienna. He wanted to see his publisher, Tobias Haslinger, and it was he who was the mastermind in arranging two concerts for him. These were immensely successful particularly those pieces which allowed his improvisatory skills to shine. He returned home in August via Prague and Dresden.

Although his concerts at home were successful and he was now regarded as a burgeoning national figure he craved the international life which only a move to a major city would bring. In November the following year he returned to Vienna but the succeeding eight months were frustrating. His two concerts were not successful and no more works were published. It was natural for him, with his French ancestry and knowledge, to desire to go to Paris and he eventually arrived there in September 1831.

He quickly established himself and was immediately recognised as a pianist of quality by his fellows including Liszt and Mendelssohn; the famous remark “Hats off, a genius” by Schumann appeared in the Allgemeine musikalische Zeitung that December. The local Parisians were less forthcoming and his concerts were financially not successful; so he limited his performances and found that he was just as able to obtain both fame and fortune by not appearing before the public. He was supported by the aristocracy whose judgements were based more on musicality and not the mere technical wizardry of the spectacular virtuosos who used this for effect whereas the musical content was comparatively limited.

For the next few years he both toured – primarily Germany – and wrote; his compositions of this time included all the dance forms he made famous together with nocturnes, preludes and studies many of them being his popular compositions in those styles. In August 1835 he met his parents for the last time in Karlsbad; they returned to Poland whilst he went on to Dresden where he joined the family whose three sons had been at school with Chopin; one of the daughters, Maria, aged 16, took a fancy to Chopin and, even though there were nine years between them, he did not dismiss the idea of a relationship as he was struck by her youth and beauty. A present of his Waltz “L’Adieu” (Op, 69 No, 1, CD 9 [12]) was made to her on his departure for Leipzig where Mendelssohn introduced him to Schumann and Clara Wieck, whom he regarded as ‘the only woman in Germany who can play my music’. On visiting Heidelberg he became ill – indeed he struggled with ill health throughout his life – and rumours of his death appeared in newspapers in Warsaw. The following year he took up the pursuit of Maria and proposed marriage in September; although the parents liked him their opposition grew probably on the grounds of his health and the engagement was terminated in the summer of 1837.

The keyboard instrument that we now call the piano was undergoing a major part of its development and Chopin, through his friendship with a major manufacturer, Pleyel, was a pivotal influence in this; he and Pleyel came to London and visited John Broadwood, the manufacturer who had supplied Beethoven with a number of pianos.

In late 1836 Liszt introduced Chopin to the novelist Baroness Aurore Dudevant who was immediately attracted to him. Chopin, on the other hand, thought her, who had been brought up as a boy, too masculine in appearance and manner. She was six years older and already had had numerous lovers and one husband by whom she had had two children. She had left him five years earlier as she had inherited considerable wealth including an estate and chateau to which she now invited Chopin.

Gradually she wore down his reticence and finally seduced him, this was the start of the nine year affair with the Baroness whose pen name was George Sand. Her son, Maurice, suffered from rheumatic fever and had been recommended a warmer climate so for the winter of 1838 they went to Palma, Majorca. They had to leave when Chopin, who had been for some years suffering from latent tuberculosis, became seriously ill. Their relationship became more of a friendship with Sand acting like a mother.

In May 1839 he finally went to her estate and chateau and was entranced, it was the only country house in which he ever made a permanent home.

Several productive years followed but in 1846 Sand’s children and an adopted daughter showed open hostility towards Chopin and his friends and a family crisis developed; the relationship was finally terminated when Sand’s daughter, Solange, became pregnant, not by her then fiancé, whom Chopin liked, but by another man whom Sand preferred and who, in the end, married the girl.

The last years of Chopin’s life were marked by few compositions caused, no doubt, by the loss of the tranquil atmosphere of earlier years and his rapidly worsening health. There was a brief revival of his activity as a concert pianist but the Paris Revolution of February 1848 terminated that as well as his teaching engagements. He took up a long-standing invitation to visit Britain giving some concerts including one attended by Queen Victoria. Besides London he visited Manchester, Glasgow and Edinburgh before returning to France. Throughout his time in France he never contacted his father’s relations in the Vosges, not even now, when he needed assistance. He turned to his family by asking his sister, Ludwika, to come with her husband; she nursed him through his last two painful months, dying on 17 October 1849 aged only 39. After a funeral at the Madeleine, attended by nearly 3000 people, at which his own funeral march from the B flat minor sonata in an orchestral arrangement was played, he was buried at the cemetery of Père-Lachaise.

“This monumental recording project first came about when the American record company Arabesque approached me with an irresistible offer to record the complete works of Chopin. I accepted with enthusiasm and an awareness of the magnitude of the task. My total immersion in the Chopin project was enhanced by a concurrent series of recitals of the complete solo works in the US and several European capitals from 1995 to 1997. I am delighted that these recordings are now available again as a boxed set on Hyperion.” GARRICK OHLSSON

Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess.