I recently reviewed in detail a complete set of Chopin recordings by Tatiana Shebanova, immortally performed on an Erard instrument of 1849 and issued by the National Chopin Institute. Alfred Einstein observed that he never wrote another like it, before or after. Mozart referred to this concerto as 'one of a quite peculiar kind'. He dedicated it to his pupil the eighteen year old (youth again!) Barbara von Ployer - 'Babette' - who would have rather restricted forces at her command in any home performance. It is also scored for small almost obbligato orchestra which suited the strings of the Philharmonia Chamber Orchestra exceptionally well. The first work listed is this piano concerto. The empty pages the followed this departure are a tragic testament to artistic loss. In February 1784 he began a list of completed works in a notebook, keeping this until a few weeks before his death.
The premiere was highly popular and successful. 449 (1784) by Mozart is an interesting one. The choice of the Piano Concerto in E-flat major K. In 1781 Mozart happily quit Salzburg for Vienna which gave rise to much joy in his compositions. We then moved on to the next work on the programme, the Mozart Piano Concerto No.14 in E-flat major K.449. She played fine Beethoven 6 Bagatelles Op.126 and an absolutely brilliant Petrushka by Stravinsky. His recital was followed by an excellent recital by his Professor and pianist, Natalia Trull. Hopefully he will retain these unblemished childhood qualities under the 'pressure of the modern' for many years to come. His playing has such delight in making music, joyfulness and innocence it took years off my life and all those woebegone reflections of maturity. Such dynamic contrasts were evident but I hope he mercifully he does not know of the significance of the Wagner reference yet! And then, just in case we thought he was not in touch with the joy of youth and liveliness, the ragtime Golliwogg's Cakewalk from the Debussy Children's Corner Suite. 2 and a dazzling performance of the Tarantella Op.77 No.6, where one could not help but marvel at the virtuosic articulation of the repeated notes (that hammering 'd') by an 11 year old! Complete natural musicality. Would he have the ability and courage to play the next waltz that I automatically anticipated in my inner ear? Yes! This was followed by a glittering s tyle brillante Waltz in F major Op.34 No.2 spectacularly authoritative in one so young.Īstonishingly he then embarked on two daring and breathtaking pieces by Maurycy Moszkowski - Guitare Op. The Chopin Waltz in A minor Op.34 No.2 displayed all the qualities of a natural Chopin interpreter.
His face carries such maturity and is transformed with concentration when he encounters the keyboard. This was also present in the marvelous, deeply expressive performance of the Impromptu No.3 in D-flat major. The musical maturity displayed here was something to treasure and marvel at in one so young. I felt him magically in touch with the inaccessible spiritual aspect of Chopin, that particular depth that escapes so many fine pianists. The Chopin Mazurka Op.6 No 1 in F-sharp minor and Mazurka Op.7 No.2 in A minor were brimming with idiomatic expressive nostalgic emotion and expressiveness in addition to superb natural organic phrasing and rubato.
He also composes music which was clear from his deep understanding of the harmonic transitions within this work. Also I found his tone, touch and sense of piano colour, dynamic control, pedaling (feet just reaching the pedals!) and articulation bewitching and radiant at once. I felt the emotional expression and interpretation came organically from within and not simply imitated from his Professor as is so often the case in the flowering of precocious keyboard talents. Not only did Mysin possess the astonishing physical dexterity required for a commanding performance of the work but also the sine qua non when judging prodigious talent, the sensitive, poetic and deep expressiveness of a true musical 'genius' (in its original meaning as the depiction of a person’s unique personality and disposition). The titles are merely afterthought suggestions to the pianist (this according to Schumann). They express deep nostalgia for childhood through the eyes of an adult. You will enjoy them, though you will need to forget that you are a virtuoso when you play them.' I selected several and titled them Kinderszenen. You once said to me that I often seemed like a child, and I suddenly got inspired and knocked off around 30 quaint little pieces. 'I have been waiting for your letter and have in the meantime filled several books with pieces.
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