San Francisco Classical Voice

Karol Radziwonowicz

For a grand tradition to remain vital, its younger torchbearers must provide honest ideas and fresh responses. Pianist Karol Radziwonowicz supplied both in his recital of music by Chopin and Paderewski at the Century Club last Friday as a benefit for the Polish Arts and Culture Foundation.

Legendary as a pianist, Ignace Jan Paderewski's considerable output as a composer is all but forgotten. In the later part of the 19th and earlier part of our century, composer-pianists, from Bartok to Gottschalk, often stylized their national folk music. In Paderewski's music, Polish song and dance is at the core. After some initial nervousness, Radziwonowicz played with fervor and conviction in Padrewski's Legende, Op.16, No. 5 and in the Mazurka in Bb major Op. 9 No. 4. Figuration derived from the late Nocturne in E major of Chopin was deftly woven into the compositional web by Paderewski in the Legende. The effect was beautiful.

Obvious stylistic connections between Paderewski and Chopin were heightened by the choice of programming. The Nocturne in B major, Op. 62 No. 1 and two Mazurkas from Op. 63, which opened the first Chopin group, are among the treasures of the literature. Chopin's imaginative powers were fully developed at this late stage and Radziwonowicz was fully responsive. He brought out the bittersweet melodic quality of Op. 63 #1 by not obscuring the dissonant clash between the bass note C and the Db in the melody. The Waltz in A minor, Op. 34 No. 2 was just a trace faster than usually played, and to a positive end. It remained sensitive and intimate at this tempo without becoming static. The Polonaise in F# minor, Op 44, was highly inflected, warm and passionate.

After intermission, two miniature dances by Paderewski were presented. The pensive Barcarole in F# minor had texture and timbre reminiscent of melancholic Schumann. Harmonic progressions and use of dissonance were almost academically predictable in the Caprice Waltz. Radziwonowicz concluded his program with another Chopin group, including the Scherzo in B minor, Op. 20, the Impromptu in Gb major, Op. 51, and the Ballade in F minor, Op. 52.

The B Minor Scherzo seemed perfunctory and not particular distinctive, except for the gentle lullaby which was played with sincere, unapologetic tenderness. In the Fourth Ballade, he was able to sneak in and shape the left hand opening melodic fragment of the Fourth Ballade with a fluid, liquid legato. The main theme was played in a straightforward manner and with a contrapuntally present bass line. Musical coherence was achieved by focusing on the horizontal lines, balancing the texture and avoiding too thickly vertical a sonority.

There was considerable but considered rubato as the Ballade unfolded, producing expectation and tension rather than rhythmic laxness. Extending the dominant pedal point through the introduction to the coda was both daring and convincing, although hardly a literal reading of the score. With such technical command, the terrifying coda could have moved more relentlessly forward without becoming reckless.

Radziwonowicz has a full-bodied cantabile tone that is never forced. His fervent response to harmonic color and unselfconscious flexibility are something special. Most importantly, Radziwonowicz has his own interpretive perspective and isn't simply following elusive ghosts of the past.

(John McCarthy is a pianist and teacher. He is Director of Preparatory and Extensions Divisions at the San Francisco Conservatory of Music)

©1999 John McCarthy, all rights reserved