The Gala concert is a special genre; therefore the programme of the concert on Fryderyk Chopin’s birthday was rather unusual one. It was conceived both to assure the artistic quality of the event and to recapitulate the events of the last week. For that reason three winners of Chopin’s International Competition appeared on the stage of Teatr Wielki – Polish National Opera tonight. They were: Yundi, Dang Thai Son and Garrick Ohlsson. Their well established careers have proven the rightness of Jury’s decision. We can safely trust Chopin’s output into their competent hands.
The first to appear on stage was Yundi, who performed a selection of three of the Nocturnes with beautiful sound and elegance of playing. Those works are probably best suited to pianist’s artistic personality. His recital concluded with Andante spianato and Grande Polonaise in E flat major Op. 22, this time played on piano solo. Fast tempo and the lightness of technique and articulation resulted in failing of reproducing the idea of a polonaise, a noble dance with no jumps. Despite that Yundi was successful tonight.
The remaining part of the evening was programmed to include both of Chopin’s concertos, with the participation of both of diligent orchestras: the Orchestra of 18th Century conducted by Frans Brüggen and Warsaw Philharmonic Orchestra lead by Antoni Wit.
Dan Thai Son gave a colourful, lively performance of the Concerto in F minor. He played on period instrument with Brüggen’s orchestra supporting the pianist. After the intermission we heard Garrick Ohlsson, along with Nelson Goerner the busiest pianist of the festival. Why, today alone he had performed a broadcasted recital on Chopin’s 1848 Pleyel in Żelazowa Wola, then he travelled back to Warsaw for the rehearsal and in the evening he performed the Concerto in E minor with such a spirit and youthful playfulness as if he were resting for the whole day! The interpretation of Ohlsson, natural and spontaneous one, was full of interesting details (as the trill fragment from the first movement). The pianist offered three encores. First, the Waltz in E flat major Op. 18 was played with sparkles of humour and with bravura. Then followed a very personal interpretation of Mazurka in C sharp minor Op. 50 No. 3, after which Waltz in C sharp minor Op. 64 No. 2 concluded the evening. This Waltz Ohlsson offered as an encore after his recital last Thursday as well, we were once more delighted with the supporting melody shown in the middle section of the work. No one else plays these bars like Ohlsson, and we have witnessed a good selection of performances of this Waltz.
* * *
Birthday Concerts came to an end. The concept of the festival provokes to make some comparisons. Almost every day we heard one or both of Chopin’s concertos performed. Also very popular was Nocturne in D flat major Op. 27 No. 2 as well as Waltz in C sharp minor Op. 64 No. 2. What is the picture that emerges from this comparison?
First of all, there is no single Chopin. His music is so profound, so rich, that every pianist can found his own Chopin in it, irrespective of his musical heritage. There are more and more performances of Chopin’s music on period instruments. Those are now instruments of the past, but for Chopin they were novelty. This movement does not contradict with the traditional performances on instruments of our era. Those are just two branches of the same tree that grow out of the trunk of Chopin’s genius.
Warsaw hosted one of the, who knows, most impost important pianistic festivals in the World. The top class pianists have appeared in Fryderyk Chopin’s home city to witness the timeless value of composer’s art. We would like to express our deepest gratitude to all involved.
Krzysztof Komarnicki
