Janina Fialkowska - Chopin Recital 3

Record and Artist Details

Composer or Director: Fryderyk Chopin

Genre:

Instrumental

Label: ATMA

Media Format: CD or Download

Mastering:

DDD

Catalogue Number: ACD2 2728

ACD2 2728. Janina Fialkowska - Chopin Recital 3

Tracks:

Composition Artist Credit
Nocturnes Janina Fialkowska
Fryderyk Chopin Composer
(26) Preludes Fryderyk Chopin Composer
Janina Fialkowska
(3) Impromptus Janina Fialkowska
Fryderyk Chopin Composer
(4) Scherzos Janina Fialkowska
Fryderyk Chopin Composer
(16) Polonaises Fryderyk Chopin Composer
Janina Fialkowska
(26) Preludes Fryderyk Chopin Composer
Janina Fialkowska
Waltzes Fryderyk Chopin Composer
Janina Fialkowska
Nocturnes Janina Fialkowska
Fryderyk Chopin Composer
Waltzes Fryderyk Chopin Composer
Janina Fialkowska
Ballade No. 4 Fryderyk Chopin Composer
Janina Fialkowska
While the works chosen for this Chopin recital are programmed to ensure maximum contrast of mood and emotion, a unified trajectory nevertheless makes itself felt, possibly through subtle key relationships from one selection to the next. Perhaps this was intentional on Janina Fialkowska’s part, since her seasoned musicianship and thoughtful virtuosity thoroughly inhabit this music. The Polonaise-fantaisie’s climaxes convey headlong momentum yet with palpable tension and release in regard to the timings of the sweeping scales and big chordal build-ups. In the B major Nocturne, Op 9 No 3, Fialkowska effects a startling yet inevitable change of colour at the minor-key episode, while her well-controlled right-hand cantilenas are anchored by buoyant, shapely bass lines throughout.

Although she rightly resists gilding the decorative lilies, so to speak, in the F sharp major Nocturne, Op 15 No 2, she habitually lingers on the main theme’s first-note up‑beat to the point of predictability, yet such ‘stretching out’ reveals a rare wistful (even tragic) side to the B minor Waltz. By contrast, she astutely underlines the G flat Impromptu’s polyphonic interplay, while casting a playful light and more than a few skittish accents upon the A flat Waltz, Op 42; indeed, Fialkowska truly makes the latter her own.

Fialkowska unleashes the E major Scherzo’s vivacious outer sections with impressive suppleness and architectonic determination, akin to the young Ashkenazy’s reference recording, but with just a soupçon of rubato. A grim, driving E flat minor Prelude leads into a D flat major ‘Raindrop’ Prelude that’s less about the persistent repeated-note pulse than its long melodic arcs. The F minor Ballade receives a direct yet flexible reading, where Fialkowska makes expressive points by proportioning her dynamics with care and articulating the thickest textures with the utmost clarity. In the coda, for example, her multi-level contouring of the contrapuntal lines and intelligently meted-out crescendos conclude this highly recommended recital on a shattering note. J

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