SEEN AND HEARD INTERNATIONAL

Chopin, Scriabin, Tansman, Szymanowski:  Cédric Tiberghien (piano). Queen Elizabeth Hall, London, 19.1.2010 (CC)

Chopin: Scherzo No. 1 in B minor, Op. 20. Three Mazurkas: Op. 6/3, Op. 17 Nos. 2 & 4; Ballade No. 1 in G minor, Op. 23; Two Mazurkas: Op. 24/2 & 24/4. Scherzo No. 2 in B flat minor, Op. 31.

Scriabin Four Mazurkas: Impromptu à la Mazur, Op. 2/3; Op. 3/7; Op. 3/6; Op. 25/3.

Tansman Five Mazurkas.

Szymanowski Two Mazurkas from Op. 50

Chopin Three Mazurkas, Op. 59. Polonaise-Fantaisie in A flat, Op. 61

Cédric Tiberghien, a Harmonia Mundi artist, made a welcome contribution to the South Bank’s International Piano Series with this fascinating programme. His idea was to focus on the Mazurka, a form that is central to Chopin’s development. Beginning with Chopin, Tiberghien then explored subsequent composers’ reactions to the form before closing with a remarkable account of Chopin’s enigmatic Polonaise-Fantaisie, Op. 61.

Clarity was the hallmark of Tiberghien’s Chopin B-Minor Scherzo. It was a daring choice to begin with this finger-twister. Right from its bell-like opening, it was clear that this was no barn-storming reading, as the interiorisations of the slower sections confirmed. The trio of Mazurkas that followed were no mere interlude between Scherzo and Ballade, but operated as distillations of the very essence of Chopin’s style.

If the slower sections of the great G-Minor Ballade were exquisitely delivered, there was a certain reticence to the more extrovert writing until Tiberghien unleashed the coda. This did not quite work, despite the clear virtuosity of the close. He took more risks in the Second Scherzo, though (not all of which came off) – but the lingering impression of this scherzo was the sheer tonal beauty of the chordal sections.

The Scriabin-Tansman-Szymanowski combination that opened the second part of the concert was little short of inspired. The Scriabin group was taken from that composer’s post-Chopin phase. Only the final offering, Op. 25/3, with its chromatic slitherings, hinted at Scriabin’s later mystical explorations. The inclusion of music by Alexander Tansman (1897-1986) was most stimulating. Polish born Tansman, like Chopin, moved to Paris. The selection of five mazurkas were appealing, contrasted miniatures. Tiberghien hardened his tone for the first, the most robust of the set, before presenting the highlight, the bitter-sweet D major (Book I/4).

The final return to Chopin felt like a home-coming, a return to the Source. The Op. 59 set of Mazukas (1845) explores the Mazurka form in a way typical of late-Chopin. The emotionally wide-ranging F sharp minor (No. 3) was haunting, leading perfectly in to the final offering, the Polonaise-Fantaisie. Crystelline delivery, true pianissimi and Tiberghien’s way of making lines ‘speak’ made this a reading to treasure.

A superb recital. Cédric Tiberghien will be releasing a disc that focuses on Chopin Mazurkas in the Autumn of this year.

Colin Clarke