PAKM500: Peter Katin Plays Chopin

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Peter Katin, piano Recorded between 1976-2006. Tracks 1-4 previously available on private limited-edition LP only Tracks 5-11 never previously released. Download ID: 247375 (Duration 74'48") Sonata in B minor, Op.58 (r. 1976) Three Waltzes, Op.64 (r. 1993) Nocturne in D flat, Op.27, No.2 (r. 1993) Fantaisie in F minor, Op.49 (r. 1994) Andante Spianato & Grande Polonaise Brillante, Op.22 (r. 2006) Waltz in A flat, Op.69, No.1 (original version) (r. 2006)

Play sample waltz:

Peter Katin

Podcast MP3 (12'16") On this recording, Chopin, pianists & pianos

SONATA IN B MINOR, Op.58
Allegro maestoso; Scherzo; Largo; Presto non tanto

Here is Chopin at the height of his powers. Everything that had gone before could be seen as leading up to this incredible outpouring of ideas, of contrasts, of a whole world of emotions, and perhaps most of all pride, that unmistakable and ruling quality of the Polish people. All this is firmly put together in the B minor Sonata and what emerges is without doubt one of the greatest of all romantic piano works - even more so when one considers that it was written in the shadow of his father’s death.

Of course it has been said that too many ideas have been crammed into the first movement, and it is true that because of this, conventional sonata form needed far more flexibility than usual. But the main problem is for the performer to hold it all in one piece, and the (often-ignored) "maestoso" direction at the start gives the key to the movement’s general treatment, which will give all the ideas room to breathe, and however one sees it, it is a masterpiece in itself. It is balanced by three other movements of far greater simplicity and directness. The scherzo movement, for instance, is a feathery cascade of notes heard twice in identical form and contrasted by a syncopated middle section, and the Largo consists of a long expansive theme, an introspective central part of ever-shifting gentle colours, and after a hushed return to the first theme the coda glows with autumnal beauty. The commanding introduction to the finale shatters this twilight mood, and plunges into a triumphant dance (not unlike the early Tarantella) which leads its vigorous and irresistible way to an overwhelming coda in the major key that seems to sweep the hearer up to a level of unrestrained jubilation.

THREE WALTZES, Op.64
D flat major; C sharp minor; A flat major

When one considers Chopin’s state of mind during his last years it becomes apparent that, far from being the indecisive character he has so often been thought, he wrote even then with a very real objectivity, and here the music tells of a special charm that he could hardly have felt at the time. The first two Waltzes are perhaps the best known of the whole collection, the D flat major having survived some quite inexcusable treatment springing mainly from the title “Minute Waltz” that was wished upon it. The last one is really the most inventive and I am unable to think why it has been so neglected.

NOCTURNE IN D FLAT MAJOR, Op.27 No.2

This is a work of great serenity, the sort of long poetic outpouring of which Chopin was the undisputed master. Here there is no distinct middle section, a barely established change of key bringing an increasing of intensity until the first theme is again stated, this time openly and almost exultantly. The coda is a prolonged farewell, becoming more and more distant until all movement has stopped.

Peter Katin played as exhilarating an all-Chopin concert as it has ever been this critic's privilege to hear... - New York Times

FANTASY IN F MINOR, Op.49

If I am inclined to look upon this work as a Ballade it is because the structure is easily recognised - but then one could be tempted to regard, say, the F minor Ballade as a Fantasy as it seems less organised! The sombre march which unfolds the Fantasy is a fairly extended idea, yet it is not heard again, for a new theme, starting tentatively, grows with increasing confidence until it becomes agitated and syncopated before it is suddenly transformed into a new key and a flow of ardent poetry. This is in turn interrupted by a dramatic outcry which starts a precipitation towards a strong and positive statement in chords and contrary motion octaves leading to a purposeful "quick march", after which the former turbulence impatiently resumes. Gradually everything unwinds and settles into a new idea, in B major, an oasis of calm, moving along its course with slow dignity, then stopped, unresolved, by a chord which cuts through the mood like a knife, the former unrest continuing as though it had not stopped. The coda brings it to a halt with a fortissimo repetition of the B major sections two bars, then it relents with three recitative like phrases, and after a harking back to the first stormy figuration two commanding chords bring this fine, big-scale work to an end.

ANDANTE SPIANATO AND GRANDE POLONAISE, Op.22

Properly called "Grande Polonaise Brillante, précédée d’un Andante Spianato", the Polonaise was originally written for piano and orchestra and was completed in 1831. The Andante came three years later, both works being published in 1836 with what, I have to admit, is a somewhat lame introduction to the Polonaise, especially when played on the piano (the original was written for orchestra and at least has trumpets to help it out!), and when Chopin mentioned the work in a letter he did say that there was not a "proper beginning". At all events, the Andante progresses as smoothly as a brook, with an expansive palette of sound to which the trio (a hint of the Mazurka rhythm) is hardly a contrast but halts the flow rather like an unexpected reminiscence. After this, there is really no profundity to be found in the Polonaise, but then in the matter of embellishment Chopin already knew how far he could go. I have always contended that his ornamentation was necessary to the music and not just there for display, and what might be tricks in other hands form an integral part of the music where Chopin was concerned. The Polonaise is a work of youthful exuberance, but there is also eloquence, dignity, playfulness, and (especially in the coda) tremendous panache.

WALTZ IN A FLAT MAJOR, Op.69 No.1

In the Waltzes it would be perhaps unfair to look for and real depth of character. The Waltz was, and still is, a salon piece and it is most rewarding to observe through them Chopin’s talent for bringing such wide contrasts to a simple dance form.

Notes by Peter Katin (Author’s copyright 2006)

Find out more:   Waltz in A flat major Op. 69 No. 1 About Chopin: Frederick Chopin Society (Warsaw) BBC Artist Profile Chopin Society (UK) About Peter Katin: Official web biography CD covers to print:   CD-writing cuesheet: [What's that?] Download our Illustrated Catalogue Complete catalogue of recordings, fully indexed by composer and performer, with links to website pages

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