Album insights
Even nearly 150 years after Ignacy Jan Paderewski's birth (1860–1941), there appears to be a certain ambiguity surrounding his legacy. Remembered primarily as a pianist or composer/pianist, how does his passionate advocacy for Polish independence before and during World War I (1914–18) and his subsequent brief period as Prime Minister of the newly independent Poland fit into his artistic life? His composition of the Symphony in B Minor, "Polonia," Op. 24 (1903–08, recorded on Hyperion CDA67056), serves as a revealing testament to how Paderewski merges nationalism, politics, and music together (the Polish national anthem subtly woven into the finale). However, the symphony remains a standalone example in his body of work and does not pertain to the pianist Paderewski.
Paderewski, known primarily as an interpreter, left us with relatively few recordings and seemingly found performance to be an ordeal. While he is associated more with the music of other composers, particularly Chopin, than his own, he often included his two concertante works, the Piano Concerto, Op. 17 (1882–8), and the Polish Fantasy, Op. 19 (1893), in his solo performances. Apart from the pieces on this CD, his solo repertoire, largely consisting of miniatures intended more for the salon than the concert hall, remains mostly undiscovered. With preferences for national folk genres like Mazurka and Krakowiak evident in works such as the Polish Dances, Op. 9 (1882–4), and the Tatra Album, Op. 12 (1883–4).
Another notable miniature by Paderewski is the famous Minuet in G Major, inextricably linked to his name since its composition in 1886. The Minuet originates from a set of six Humoresques de concert, Op. 14 (1885–7)—the first three being "à l’antique" (Minuet, Sarabande, and Caprice "genre Scarlatti"), and the second three classified as "modern" (Burlesque, Intermezzo polacco, and Cracovienne fantastique). Paderewski's inclination towards national folk genres and the antique is revealed in the repertoire on this CD, albeit without his usual nationalist tendencies. One could argue that Paderewski staked a claim in the realm of pianists who composed musical grand forms with his Piano Sonata in E-flat Major, Op. 21 (1887–1903)—a monumental work produced during a time when he was regarded highly as a pianist and sought new directions amidst the exhaustion from his concert tours.
Structured with power, Paderewski's Piano Sonata opens with significant motivic ideas evoking a sense of chromatic resolution. The sonata avoids confirming the main key, E-flat Major immediately, instead delving into a turbulent sequence of melodic phrases, departing from the expected path. The second theme, introduced after a molto agitato section, maintains a gentle tone despite being marked con passione. This theme exemplifies Paderewski's melodious style—simple yet captivating. The development section intricately weaves together the main ideas through canonical imitation and modulations, briefly alluding to Wagner's Tristan und Isolde. The recapitulation flows conventionally until unexpectedly dissolving into trills and sixteenth notes, leading to the return of the second theme, confirmed masterfully and fleetingly in the home key before venturing into an unconventional cadenza, closing in E-flat Major.
The second movement exudes a lyrical character resembling a song without words. While the initial harmonies hint at innovative harmonic realms akin to Wagner or Wolf, the main theme quickly reverts to traditional harmonic patterns. The movement concludes with an evasive cadence, bridging seamlessly into the brilliant Toccata of the finale. The finale substantiates the composer's remarks on its technical demands, requiring utmost articulation and dexterity in relentless sixteenth note passages. The thematic relationship between the main theme and the beginning of the first movement underscores Paderewski's affinity for cyclical themes. His fugue technique echoes influences, most notably Brahms.
Paderewski's Variation and Fugue on an Original Theme in A Minor, Op. 11, comprises fourteen variations culminating in a fugal finale. Showing a simplistic complexity, the work emanates Paderewski's closeness to Brahms, whom he encountered during his studies in Vienna from 1884–5. The theme's straightforward nature allows for a wide array of transformations throughout the piece. The variations explore diverse tonalities and stylistic elements, presenting a blend of traditional forms and moments of whimsical flair. Paderewski reflected on these compositions with pride, recognizing them as his pivotal achievements as a composer and pianist.
The Variations and Fugue on an Original Theme in E-flat Minor, Op. 23, completed in 1903, stands as a testimony to Paderewski's maturing talents. Originating from his early years, these opuses showcase his evolving compositional style, revealing a mix of thematic development and inventive musicality. Combining tradition and innovation, Paderewski's opuses provide a glimpse into the musical brilliance of a multifaceted artist.