Fryderyk CHOPIN (1810-1849)
Complete Songs
Seventeen Songs Op. 74
1. Zyczenie [1:43]
2. Wiosna [1:52]
3. Smutna Rzeka [3:27]
4. Hulanka [2:25]
5. Gdzie lubi [1:01]
6. Precz z moich oczu! [3:04]
7. Posel [2:20]
8. Sliczny chlopiec [2:42]
9. Melodya [2:41]
10. Wojak [2:14]
11. Dwojaki koniec [2:23]
12. Moja pieszczoyka [2:03]
13. Nie ma czego trzeba [3:06]
14. Piersien [1:37]
15. Narzectony [2:06]
16. Piosnka litewska [1:57]
17. Spiew grobowy [5:06]
18. Czary [1:45]
19. Dumka [1:35]
20. Seize-ans [3:28]
21. Aime-moi [2:37]
22. L’oiselet [3:20]
23. Coquette [2:31]
Olga Pasichnyk (soprano), Natalya Pasichnyk (piano)
rec. Warsaw Concert Hall, Poland, 21-23 December 2009
Sung texts and English translations available here
It was just a few months since I welcomed a disc with Chopin’s complete songs, marvellously performed by the great Lied singer Konrad Jarnot. I even had it on my list of possible candidates for Recording of the Year but in the semi-finals it lost against Yann Beuron’s Fauré recording. It is still a very good disc but has two drawbacks: there are no texts and translations in the booklet and it is sung in German. The new Naxos disc is sung in the original Polish and while the rather meagre inlay has no room for the texts they can be accessed on the Naxos website. That’s good service but I have never quite managed to come to terms with listening to music in front of the computer. To be frank: I hate that and I have found that I am not alone. End of complaint.
The original language makes an important difference insofar as it was the Polish words that Chopin set. To sensitive song composers the musical values inherent in the sounds as much as the actual meaning of the words are essential. Here one feels an integration that seems totally authentic while Jarnot’s German texts stand out as slightly strange birds. Since he is such a distinctive interpreter, the ‘wrong’ language didn’t bother me but I get closer to the atmosphere of the songs in the Olga Pasichnyk’s readings. Coming from Ukraine, Polish obviously isn’t her mother tongue but parts of her studies were carried through in Warsaw and she was soloist at the Warsaw Chamber Opera from 1992. Hers is a truly lovely and beautiful voice and she is a most sensitive singer, producing ravishing pianissimos. The majority of these songs are lyrical and poetic and Olga Pasichnyk is an ideal interpreter. It also seems that a female voice is more natural in this repertoire, though that may just be prejudice. But she also has the required power Hulanka (tr. 4), this outgoing, burlesque dance, where she responds with some stirring chest notes while otherwise retaining the elegance and sensitivity.
She is also careful with words and the whole recital is so alive and ‘lived-in’. Just listen to her inflexions of the text in Sliczny chlopiec (tr. 8) and the hushed intensity in Melodia (tr. 9). She certainly covers all the interpretative facets of these songs. One of my favourites is Moja pieszczoyka (tr. 12), a delicate waltz, that I can’t remember hearing better sung, and Piosnka litewska (Lithuanian Song)(tr. 16) is another highlight, simple and enchanting.
Her sister Natalya is an extraordinarily flexible accompanist and contributes greatly to the overall impression.
As a bonus we are offered four out of the twelve songs the famous singer Pauline Viardot arranged from mazurkas by Chopin. Viardot was a technical phenomenon with a range of three octaves and virtuoso technique and the songs were written to show off her ability. Chopin was also satisfied with the songs and they are splendid showpieces. Olga Pasichnyk has both the brilliant top as well as a contralto depth – listen to Coquette (tr. 23) – and the technique to negotiate the vocal fireworks.
The recording is fully worthy of the interpretations and anyone wanting a recording of this lesser known part of Chopin’s oeuvre need look no further. At super budget price and sung in the original Polish – the Viardot songs are in French – and with texts and translations available on the internet this is a self-recommending issue.
Göran Forsling
The recording is fully worthy of the interpretations and anyone wanting a recording of this lesser known part of Chopin’s oeuvre need look no further.