Paderewski and Szymanowski (11/16/19)

Radoslaw Sobczak, piano

Menuet in G major, Op. 14 No. 1 – Ignacy Paderewski (1860–1941)
Nocturne in B flat major, Op. 16, No. 4 (Paderewski)
Piano Sonata, Op. 21 (1906) – I. Allegro con fuoco; II. Andante ma non troppo; III. Allegro vivace (Paderewski)
Mazurka, Op. 50, No. 1 – Karol Szymanowski (1882–1937)
Three Preludes, Op. 1 – No. 2, No. 3, No. 7 – (Szymanowski)
Piano Sonata in A major, Op. 21, M25 (1912) – I. Allegro assai (molto appassionata); II. Thema, Allegretto tranquillo. Graziosa – (Szymanowski)

It was interesting programming. After the fact, I almost wondered if the two minor Paderewski pieces might have been better paired with the major Szymanowski piece, and then the two (four) minor Szymanowski pieces with the major Paderewski. Just my musing.

The Menuet was sweet and gentle, rhythmic as a dance form then expanding to grandeur (playful?). The Nocturne had a gentle opening but was slightly darker and more subdued, though with a lovely feel.

The first movement of the Paderewski sonata was rhythmic and almost aggressive. You could tell that we had moved into a new century. It was more modern in style though still firmly tonal. The movement had fancy finger work with a masterful composition masterfully played, with touches of gentleness as well as a strong firm finish. The second movement was slower but still had hints of deepness and strength that segued into a third movement of storm and bombast—driving rhythmically to the very end.

Interestingly (at least to me), Mr. Sobczak played the first half of the program from memory and the second half from a paper (not tablet) score. That is all.

The first Szymanowski Prelude seemed a little more esoteric than the first Paderewski Menuet (hey, that’s the crazy way my brain works). It seemed to have a bit of an Asian/Oriental flare. It was quite lush and Romantic. The second was slower and slightly less structured (or maybe just differently structured?). The third was sort-of-almost impressionistic, more fluid and dreamlike.

The first movement of the Szymanowski Sonata was a little modern, with a rambunctious mystical quality—it made sense (both the composition and the playing were very impressive) but I didn’t like it very much. The second was more playful, with less bombast, but the bombast returned with a vengeance.

I was very grateful for the tranquillo, grazioso section though there was an angular fugal section that came out of nowhere.

All in all, a really fun concert. And a pianist in white tie and tails!

ConcertMeister