Frédéric Chopin - Piano Concerto No. 2; Scherzi (Seong-Jin Cho)

Information

Composer: Frédéric Chopin

1. Scherzo No. 1 in B minor, Op. 20
2. Scherzo No. 2 in B flat minor, Op. 31
3. Scherzo No. 3 in C sharp minor, Op. 39
4. Scherzo No. 4 in E major, Op. 54
5. Piano Concerto No. 2 in F minor, Op. 21: I. Maestoso
6. Piano Concerto No. 2 in F minor, Op. 21: II. Larghetto
7. Piano Concerto No. 2 in F minor, Op. 21: III. Allegro vivace
8. Étude in C minor "Revolutionary", Op. 10/12
9. Impromptu in A flat major, Op. 29
10. Nocturne in E flat major, Op. 9/2

Seong-Jin Cho, piano

London Symphony Orchestra

Gianandrea Noseda, conductor

Date: 2021

Label: Deutsche Grammophon

-----------------------------------------------------------

Review

In 2015 pianist Seong-Jin Cho, aged only twenty-one, took the world by storm when he clinched First Prize at the Warsaw International Chopin Competition. He was the first South Korean pianist to do so. The jurors were taken not only by his astonishing technical command, but also by his artistic maturity. One member, the 1970 winner Garrick Ohlsson, declared him a “remarkable, complete young artist”. Cho signed an exclusive contract with Deutsche Grammophon a year later, and his first album with the label was Chopin’s Piano Concerto No 1 with the London Symphony Orchestra under Gianandrea Noseda coupled with the four Ballades. He went on to record albums dedicated to Debussy, Mozart and one titled The Wanderer, featuring works by Schubert, Berg and Liszt, each of which I had the pleasure of reviewing. He now considered the time ready to set down his interpretations of Chopin’s Piano Concerto No 2 and the four Scherzi.

Although designated as No 2, the Piano Concerto in F minor, Op 21, was the first to be composed. Chopin penned it in 1829 at the age of nineteen, and premiered it himself a year later on 17 March 1830 in Warsaw. From the outset, I think it’s worth pointing out that the composer has often been criticized for his weak orchestration, and in many recordings I’ve heard the orchestra is relegated to the back of the sound picture and not afforded the importance and prominence it is due. In this new recording, the engineers have done a sterling job in achieving an almost perfect balance between soloist and players, where the woodwinds register clearly and the brass has a satisfying presence. From the very start, Cho has an impressive grasp of architecture and structure. The opening movement is bold and dramatic yet yields to the poetic moments in the second subject. The central Larghetto is spellbinding, soused in fluid pearl-like filigree and awash with keyboard colour. Is it a declaration of love for the Polish soprano Konstancja Gladkowska, whom he met whilst studying at the Warsaw School of Music? Into the finale, the composer poured some of his most dazzling pianistic writing in the style of a mazurka. Cho delivers a flourish of pyrotechnic display.

The four Scherzos encompass an extraordinary expressive range, and present audacious technical demands on the pianist in addition to many interpretive challenges. They brim over with drama, turbulence and Romantic fervor. Cho’s technical brilliance and profound musicality are the perfect match. The anguished pain of the first chord of the B minor Scherzo delivers a potent impact, and the turmoil of the outer sections contrasts vividly with the soothing central molto più lento, a quote from the old Polish Christmas song, Lulajże Jezuniu. Intense drama is also a feature of the Third Scherzo, every bit as ear-grabbing as Martha Argerich’s recording. Again the contrast with the gossamer figurations of the central sections is startling. In the final Scherzo the sun comes out, and the lyrical melody in the middle sounds almost operatic in style.

Everything about this recording ticks the right boxes for me, and it’s certainly a disc I’ll be returning to often. I’ve certainly earmarked it for one of my Recordings of the Year.

 

— Stephen Greenbank

-----------------------------------------------------------

Frédéric Chopin (1 March 1810 – 17 October 1849) was a Polish Romantic composer and virtuoso pianist. A prodigy from Warsaw, he moved to Paris at 21, where he spent the rest of his short life. Although often in poor health, he produced a remarkable body of piano-centered works, including nocturnes, mazurkas, waltzes, polonaises, études and two piano concertos. His music, which is known for technical brilliance and innovative harmony, helped shape musical nationalism and late-Romantic style. Chopin's iconic status, dramatic life, and early death made him one of the enduring symbols of the Romantic era.

***

Seong-Jin Cho (born 28 May 1994) is a South Korean pianist. He was brought to the world's attention in 2015 when he won First Prize at the Chopin International Competition. Since then Cho has established himself as an in-demand soloist and recitalist performing at premier global venues, including Carnegie Hall and the Concertgebouw. He regularly collaborates with leading orchestras and world-renowned conductors, recently serving as Artist in Residence with the Berliner Philharmoniker for the 2024/25 season. An exclusive Deutsche Grammophon artist, Cho has released many critically acclaimed recordings.

-----------------------------------------------------------