The recital of Leif Ove Andsnes in the Great Hall of the Royal Castle in Warsaw commenced with 3 Romanzen Op. 28 by Robert Schumann to which Novelette Op. 21 No. 5 was added as concluding movement. The first of the romances was performed in steady forte, that affected the perception of the melody. As it soon turned out, it was a kind of acoustic experiment, as the artist was investigating the possibilities of the Hall crowded by the audience. Already in the second movement of Op. 28 Andsnes adjusted his playing to the requirements of the environment and gave excellent, singful and well-balanced interpretation, with many dynamic shades and beautiful tone-colours.
This was just an introduction to the next part of the programme, that listed Játékok (Games) by György Kurtág. This beautiful music, inspired with children’s experiments with piano, was outstandingly performed by Andsnes, who was able to fill those works with thousands of coulours, timbres, dynamic and articulation changes, careful use of pedal and perfect control over time: the rest and the ring-out. He proved that contemporary music, without resigning its own language, can be as immediate as the music of old masters.
The first part of the recital concluded with Schumann’s Kinderszenen Op. 15. Andsnes filled those outwardly simple miniatures with rich substance, giving meaning to every note. A the same time pianistic ability of the artist allowed for the absolute control over all and every aspect of the performance. There were some extraordinary even staccatos in playful Hasche-Mann. The dialoguing parts of Glückes genug were perfectly underlined, the lullaby Kind im Einschlummern delighted us with subtle timbre. A rare creation it was, well thought-out and polished.
After the intermission there was all-Chopin programme to be performed. Andsnes turned out to be a perfect Chopinist, as we call that kind of pianists in Poland. There is seemingly a spiritual connection between nations living around the Baltic Sea. The Norwegian, Edward Grieg, was nicknamed “Chopin of the North” wasn’t he. Chopin himself observed after meeting Jenny Lind: We have something Slavonic, they have something Scandinavian, that is completely different, however, we are closer to each other than Italian is to Spaniard.
Andsnes begun with Ballade in A flat major Op. 47, building the narrative-variation form with precision. The performance of the pianist was again full of extraordinary details. For example, the remark con forza was performed with the change of sole articulation. From such well though-out elements Andsnes was creating his vision of great artistic expression.
Some Waltzes followed, including best two amongst inedited ones: Waltz in D flat major depicting Konstancja Gładkowska, Chopin’s beloved one, and Waltz in G flat major. It was interesting to listen to Waltz in C sharp minor Op. 64 No. 2, as this work was among favourite ones during the festival. Andsnes approach was to play it rather fast, without exaggeration of poetic athmosphere. On the other hand, in Waltz in A flat major Op. 42 there was much more seriousness than is usually evident in interpretations of this work.
The great volume of sound in Nocturne in B major Op. 62 No. 1 allowed to achieve a moving contrast with phenomenal piano. But the crown of the afternoon was performance of Ballade in G minor Op. 23. Andsnes shown a great physical fitness, there was no evidence of fatigue. He overcame the difficulties of the work effortlessly. The form of Ballade in G minor is difficult one, as the climax is moved to the end of the work. Andsnes understood that perfectly, moreover, he was able to perform this in an outstanding manner. It was physical shape that allowed for performance of the Coda with unusual clarity, power and ease – just pure musical narrative. One rarely witness that on recorded versions, it is unusual to listen to such a performance on the concert platform.
The sole encore, as many of the auditors were in rush to the Gala concert, was Prelude in A flat major Op. 28 No. 17.
Andsnes is competent pianist, who controls all aspects of his performances. We wish he would come back to Poland as soon as possible, so we can hear this artist again on concert.
Krzysztof Komarnicki
