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Paperno Plays Chopin Cedille Records CDR 90000 026 Paperno Plays Chopin PERFORMANCES FROM THE 1955 INTERNATIONAL CHOPIN COMPETITION IN WARSAW AND PAPER- NO’S LATER YEARS IN CHICAGO DDD Absolutely Digital™/Digitally Remastered CDR 90000 026 PAPERNO PLAYS CHOPIN Broadcast “concerts” for Chicago Fine Arts radio station WFMT 1 Scherzo No. 1 in B minor, Op. 20 (8:29) DePaul University Concert Hall, May 15, 1980 2 Impromptu No. 2 in F-sharp major, Op. 38 (5:03) DePaul University Concert Hall, May 15, 1980 3 Ballade No. 4 in F-minor, Op. 52 (10:29) WFMT Studio One, January 17, 1989 4 Nocturne in C-sharp minor, Op. 27, No. 1 (5:13) Mandel Hall at the University of Chicago, July 22, 1977 5 Fantasy in F-minor, Op. 49 (12:58) WFMT Studio One, November 22, 1983 From the 1955 Fifth International Chopin Competition in Warsaw* Stage Two 6 Prelude in C-sharp minor, Op. 45 (4:29) 7 Etude in A minor, Op. 10, No. 2 (1:13) 8 Etude in F major, Op. 10, No. 8 (2:06) Stage Three 9 Concerto in F minor, Op. 21, second movement (8:12) Laureates’ Concert 1 0 Mazurka in F-sharp minor, Op. 59, No. 3 (2:54) 11 Mazurka in A-flat major, Op. 41, No. 4 (1:43) 12 Scherzo No. 4 in E major, Op. 54 (9:06) TT: (73:48) *material under licence from The Fryderyk Chopin Society, Warsaw, Poland Cedille Records is a trademark of The Chicago Classical Record- ing Foundation. The Chicago Classical Recording Founda- tion, a not-for-profit foundation devoted to promoting the artis- tic efforts of the finest musicians and ensembles in the Chicago area, receives support from the Illinois Arts Council. The 1955 Chopin Competition by Dmitry Paperno Great importance was attached to Ashkenazy, without sitting down at the the Chopin competition, as was obvious piano, let his fingers run through a pas- from the fact that the winners of two sage from the Chopin Etude in double previous competitions were nominated thirds (Op. 25, No. 6). A young Chinese to be jurors — Lev Oborin (the first man came up and said with amazement, competition, 1927) and Yakov Zak (the “fantastic!” It was Fu-Tsung, who later third competition, 1937), who had been became very popular, and won not only remembered and respected in Poland the third prize but a special award for all these years. Only these two of our the best performance of mazurkas. famous professors had been abroad ear- Ashkenazy and I were accommodated lier. The rest of us had never even had in a small, one-room apartment. I could the experience of flying. On the night of not have wished for a better roommate. February 17, 1955, we took off for War- Despite his young age (17), he was seri- saw. ous-minded, reasonable, well-read, and After our arrival, the participants were unassuming in everyday life. Almost accommodated in the cozy old Hotel always, our evaluations of people and Polonia where Rachmaninov used to events coincided, and we trusted each stay long ago during his tours. In gen- other too. When I, as the older one, eral, for those times, and especially from advised him about something, he usu- the point of view of six young Soviet peo- ally accepted it. Even today we recollect ple, the competition was an eye-open- with pleasure that month when we lived ing experience. The state took on the in one room in Warsaw. expense of accommodating and feeding For the first time since the War, the the almost 150 participants, jurors and competition was to be held in the tra- guests. One floor of the hotel was set ditional home of the Warsaw Philhar- aside for our practising. The rooms were monic on Yásna Street. The Nazis had cleared of furniture and several dozen bombed Warsaw into ruins, and even ten pianos were installed. In one room, years after the war, it still hurt to see the destroyed blocks of this beautiful city. percentage who seemed to choose for The Philharmonic had especially bad themselves the Olympic slogan: “Par- luck — shortly before the competition, ticipation, not victory, is important.” the recently restored building somehow Indeed, that Chopin’s music was being caught on fire and was urgently under performed by young pianists from China, repair again. Japan, India, Iran, Chile, Ecuador, spoke Six pianos stood on its huge stage: for itself. two Steinways, two Bösendorfers, a The jury panel was representative and Bechstein, and a Pleyel. The Soviet very impressive. Its oldest member, a Union had at this time just begun to kind of antiquity, was Emile Bosquet of purchase Steinways from the U.S. and Belgium, winner of the 3rd International Germany. By the decision of our instruc- Anton Rubinstein Competition (Vienna, tors, we all played on the Steinway-2 (as 1900!). It is interesting that the young opposed to the Steinway-1). representatives from Russia who had The participants performed in alpha- also taken part in that competition were betical order, and Ashkenazy astonished Nikolai Medtner, who received First everyone on the very first day. He was, I Honorable Mention, Alexander Golden- believe, the only contestant who began weiser, and Alexander Goedicke, who his performance with highly difficult won a prize in composition. I told Mr. Chopin études: Op. 10, No. 1, in C and Bosquet that I was a student of his old Op. 25, No. 6, in G-sharp. The program rival (whom he hadn’t forgotten during for the first stage included any Noc- those 55 years) and that Mr. Golden- turne, one of the last three Polonaises, a weiser would be 80 in the beginning 3-4 minute piece of free choice (I played of March. The kind and sociable Bel- the Tarantella, Op. 43), and two Etudes gian sent a telegram of congratulation from certain groups (two others were to to Moscow which brought real joy to my be performed at the second stage). Old Man. The impression Ashkenazy made The one representative from France was like a bomb exploding. The contest was the small, lively, and talkative Lazar gained an obvious favorite from the very Levy; the famous Marguerite Long did first day. Among the hundred-some pia- not arrive until the competition was in nists, there were, as always, a certain its third stage — the performance with orchestra. Another colorful figure was tative from England, Louis Kentner, and Madame Magda Tagliaferro, an invari- the blind Hungarian Imre Ungár (second able representative of Brazil since the competition, 1932). By the way, at that second competition in 1932. I still competition a 15 point system for the remember her recital — her bright red evaluation of playing was used. The win- hair, lots of Spanish music — a lively ners — Alexander Uninsky (the Russian and consistent performance. How aston- Jew, who had represented France, and ishing it was for me when, a quarter of a spent his last years in the USA), and century later, my friend, Professor Nina Imre Ungar, received the same score. Svetlánova, called me up from New York According to the regulations at that time, City and announced that she had just lots were drawn (we are talking about heard an amazing old lady, Tagliaferro, the 1st prize here!), and Ungar found perform at Carnegie Hall. As Russians himself second . After that time, a 25 sometimes say, “These people do live” point system of scoring was adopted to — while the majority of our own do not reduce the possibility of coincidence. even reach 70: Sofronitsky, Ginsburg, Another group of jurors were the pop- Oborin, Oistrakh, Shostakovich, Flier, ular piano teachers — Jacques Fevrier Zak . (France), Emil Hajek (Yugoslavia), Fran- Similarly, the largest, Polish group tisek Maxian (Czechoslovakia), Bruno had two older men: Jérzy Zhuráwlew of Seidlhofer (Austria), formerly a famous Russian extraction who had founded the pianist who later switched to conduct- Chopin competition (held every 5 years) ing, Carlo Zecchi (Italy), the composers during the 1920s, and Zbígniew Drze- Lubomir Pipkov (Bulgaria) and Witold wiecki, a popular teacher from Krakow, Lutoslawski (Poland). The youngest in through whose hands several genera- the jury were the beautiful Flora Guerra tions of Polish pianists had passed. (Chile), and the strange, reserved Italian There was also a distinguished group Arturo Benedetti Michelangeli. All we of laureates from past competitions on knew about the latter was that he had the jury. Besides our Lev Oborin and received the seventh prize in Brussels Yakov Zak, there were the Poles, Staní- in 1938, when Emil Gilels won first and slaw Szpinalski and Henrik Sztompka Yakov Flier took third place. The scores (the first competition, 1927), a represen- Michelangeli was giving out were fright- ening: 10, 6, and even 3 points (“unsat- pened to be one of the high points of the isfactory” and “failure”). From the first 1937 competition. I did not allow myself stage of the competition he liked only a to get upset over this, since the études few performers, and Ashkenazy first of could be switched with any from the sec- all. ond stage’s program, and that is exactly In short, we were surrounded by the what I did: the A-flat Major, Op. 10, No. cream of the pianistic world, close con- 10. tact with which had been especially An hour before the performance the unusual for us, the Soviets. Only one contestant was brought to a distant room year earlier, the first Western guest artist with a piano in the Philharmonic build- had come to Moscow after Stalin’s death, ing.
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