We slowly approach the grand finale of Chopin’s Birthday Concerts. We have witnessed great performances as well as controversial ones, we have heard charming or resentful playing. But tonight we heard a performance that was truly inspired.

The main actors of the evening were Russian pianists, bearers of the heritage of great pianistic school. The arrangement of programme proved to be ideal – first Nikolai Demidenko in Concerto in E minor, then Evgeny Kissin in Concerto in F minor – as Demidenko’s intellectual performance would not make an impression if put after Kissin’s.

After the experience of yesterday’s concert we had to adapt once again to the different sound, the sound of modern orchestra and grand piano. The back to the future was not as easy as it might have seen. The romantic orchestra has its own tradition and own laws, the proportions are different, the bass lines are not so exposed as in case of period instruments orchestras, the constant vibrato blurs the edges… It is no longer an oil painting of old masters, more like an aquarelle, beautiful, elegant, but the closer we approach, the more we look for detail, the less we find it.

Demidenko gave marvellous interpretation of Concerto in E minor. Marvellous, but not thrilling. The artist opted for limited dynamic range, during the intermission the general opinion was: “too much of mezzoforte”. But this is not a complete picture. In fact, this is Chopin’s dynamic scale as suggested by Paul Badura-Skoda: Chopin’s fortissimo is our mezzoforte, forte is our piano and piano is pianissimo while pianissimo is almost inaudible. This is how Chopin had played himself, as is evident from numerous documents, including composer’s letters.

The consistency with which Demidenko had conceived his interpretation was admirable. There was not a single remark in the score that was omitted or left without interpretation. The difference between staccato and legato, so important to the style brillant, was perfectly performed as was the indication con forza. With power, but not with noise! In accord with chosen dynamic scale, with intensity instead of brutality. The leggierissimo: as light as possible, with every note clearly audible. And the scherzando? Chopin gave this remark to playful melody in the third movement. Most pianists do not care much about scherzando hoping that the notes themselves would speak, but not Demidenko, who told us this little joke with a skill of a stand-up comedian.

After the warm applause two encores were offered. The first one was a puzzling little piece, something like Hommage á Chopin by one of Russian composers, but no sir, it was Chopin’s own Mazurka “Notre temps”… Very hard to recognize, unfortunately, it lacked of accentuation and rhythm of the dance. The second encore, a Sonata by Scarlatti, or Scrlatti-Demidenko to be precise, was performed in a very romantic way with generous use of right pedal, something of a transcription, but not without certain charm.

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Warsaw Philharmonic Orchestra conducted by Antoni Wit had its moments. In the romance from Concerto in E minor the violins had that silver tone that Chopin had in mind. In the third movement some beautiful motives from the accompaniment were made prominent. The work was performed as if it was a chamber music; thanks to that many interesting lines from orchestra were audible. The bassoon was enjoyable in both Concertos. Larghetto from Concerto in F minor was very well performed, and the Orchestra added a lot tho the interpretation of the pianist.

There were some flows, unfortunately. Every enter of flute caused the slight slowing of the tempo, that was hardly understandable. The horn was out of tune, putting the artistic impression of tonight’s performance under hazard. And the usual problem, a bad habit or mannerism of the Orchestra, is that no beginning nor end of phrase is played with precision. There is always someone who starts too early or sustains the sound for a bit longer than others.

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After the intermission we heard, for the first time, the rustle of angel’s wings. Muses were sitting at the balcony and after the final chord Nike descended on her wings from the vault of the Concert Hall, proclaiming the triumph of art. One does not witness such a power, skill and freedom of playing. Evgeny Kissin ravished the audience with his great poetic vision, the powerful creation that made an unforgettable impression. It was a giant fresco, where detail does not matter so much, as the big picture is of prominent importance.

Indeed, talking about details, we may notice too much sharpness in certain rhythmic figures. It was sometimes just too nervous. We did not understood the point of slowing the tempo in the first movement, the less that Chopin put a tempo remark over this fragment. But there were some adorable details as well. Kissin played with brilliance of tone, his con forza (how often Chopin, so delicate in his own playing, had put this remark into the score!) was powerful, some interesting lines in part of left hand were played without loosing a balance of the texture.

Responding to the sheer enthusiasm of the audience, Kissin offered three encores. First of all, Etude in C minor, “Revolutionary”, played with the same thrilling virtuoso skill that was evident in Concerto. Fresco again, a great vision, a bravoura. Yes, it is true that not all of the notes in the left hand were those that supposed to be, but we really do not want to mention that. There was no such a pianist since Arthur Rubinstein!

In Waltz in C sharp minor Op. 64 No. 2 Kissin created the scene at a ball. The waltz is being danced in the ball-room, while we are taking our meditative walk outside, listening to the music that comes to us from the distance… There was some of Khachaturian in it, some of Lermontov and 100% of Chopin.

The Waltz in E minor, played with ravishing contrasts, concluded this wonderful evening.

Krzysztof Komarnicki