Frédéric Chopin Mazurkas Evgeni Koroliov, Piano
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CYAN MAGENTA GELB SCHWARZ CYAN MAGENTA GELB SCHWARZ Frédéric Chopin: Mazurkas 183 Evgeni Koroliov, piano TACET 1 Mazurka op. 6 no. 1 in F sharp minor 3:07 2 Mazurka op. 24 no. 1 in G minor 2:47 3 Mazurka op. 7 no. 1 in B fl at major 2:21 4 Mazurka op. 17 no. 2 in E minor 1:57 5 Mazurka op. 24 no. 2 in C major 2:32 6 Mazurka op. 17 no. 4 in A minor 4:38 7 Mazurka op. 24 no. 4 in B fl at minor 5:15 8 Mazurka op. 63 no. 3 in C sharp minor 2:07 The Koroliov Series Vol. XI 9 Mazurka op. 7 no. 4 in A fl at major 1:22 bl Mazurka op. 30 no. 4 in C sharp minor 3:52 bm Mazurka op. 30 no. 2 in B minor 1:42 Frédéric Chopin bn Mazurka op. 56 no. 2 in C major 1:47 bo Mazurka op. 56 no. 3 in C minor 6:23 Mazurkas bp Mazurka op. 67 no. 4 in A minor (posthumous) 3:20 bq Mazurka op. 30 no. 1 in C minor 1:41 br Mazurka op. 63 no. 2 in F minor 1:52 Evgeni Koroliov, piano bs Mazurka op. 41 no. 4 in A fl at major 1:57 bt Mazurka op. 50 no. 3 in C sharp minor 5:26 bu Mazurka op. 63 no. 1 in B major 2:17 cl Mazurka op. 41 no. 2 in E minor 2:48 cm Mazurka op. 68 no. 2 in A minor (posthumous) 3:00 cn Mazurka op. 68 no. 1 in C major (posthumous) 1:45 co Mazurka op. 33 no. 1 in G sharp minor 2:00 cp Mazurka “à Emile Gaillard” in A minor 4:32 cq Mazurka op. 68 no. 4 in F minor (posthumous) 2:19 TACET-T183_Seite_36 TACET-T183_Seite_36 TACET-T183_Seite_01 TACET-T183_Seite_01 Heartbeat of the Mazurka minor – starts with a short motif, contempla- « L’exceptionnel Evgeni Koroliov … se présente Impressum tive, hesitant and sotto voce (with soft pedal). devant un public capable de rester attentif pen- A glance at the opus numbers is enough to Unlike the Etude, however, it does not follow dant une heure et vingt minutes. Les enfants Recorded: Hannover / Germany banish a possible misconception: Chopin’s this motif by a powerful outburst, instead con- accompagnant leurs parents y compris. Cela Instrument: Steinway D-274 Mazurkas are not of secondary importance to tinuing in an ineffably desolate mood. How it veut tout dire. » Tuning and maintenance of the piano: his main output. He wrote them throughout manages nevertheless to dispense comfort is (Le Monde) Gerd Finkenstein his life, and the fi nal musical ideas he sketched one of the mysteries of such music. while on his deathbed were for a mysterious From a purely technical viewpoint this « La minutie admirable de Koroliov dans Technical equipment: TACET Mazurka in F minor, jottings which were pains- Mazurka defi es rational harmonic analysis as tous les aspects musicaux et techniques de takingly deciphered and completed by another soon as the four bars of the theme, modelled ce cycle colossale, n’excluant nullement une Translations: Celia Skrine ( English ) hand (as op. 68 no. 4) cq. It is a document of on the introduction and then leading on from vivacité d’esprit et une brillance de frappe Christoph Lung ( French ) tragic resignation whose chromatic twists and it with two further chords, have ended. What exceptionnelle, gagne une qualité propre: turns echo the dark piece at the heart of Bach’s follows are descending chromatic phrases on a rarement approfondi ainsi la musique de Cover photo: Goldberg Variations. which seem to be seeking a tonal basis, passing Bach, ni entendue à un tel point de maturité et Frédéric Chopin Autograph Mazurka op. 33 However, the other items within this post- through the keys of F major, E minor, D sharp exempte d’impureté que comme ici. » humously allotted opus number date from minor and D minor and, instead, repeating the (Süddeutsche Zeitung) Cover design: Julia Zancker Chopin’s early days, during which he also same thing again, subtly veiled with melodic Booklet layout: Toms Spogis wrote the Etudes op. 10 (1829 – 30), while the garlands and brought to an end with a gentle « Il montre à ses auditeurs tant de particularités apparently early Mazurkas op. 6 were simply resolution, still with a mazurka accent; after de la musique que l’on aimerait tout de suite Editing: Andreas Spreer the fi rst that he allowed to be published. a gracefully soaring effect almost like an ad réécouter son interprétation. » Recorded and produced by Andreas Spreer An incomprehensible error persisted libitum warbling, the home key of A minor is (Hamburger Abendblatt) throughout Chopin literature until it was fi nally fi nally reached. Almost imperceptibly, however, c 2009 TACET corrected by Tadeusz Zielinski’s pioneering biog- we are then led afresh into a repetition of the « Le superfi ciel n’est pas l’affaire de Koroliov. Il p 2009 TACET raphy. The Mazurka in A minor op. 17 no. 4 6, theme that, harmonically speaking, stands on manie de façon originale l’œuvre de Bach. Rien one of the most deeply-felt creations within so remarkably unstable a foundation. ne découle de l’assurance prétendu du spécia- the Polish composer’s entire oeuvre, is not the The story being told here has no conclu- liste que Koroliov est sans aucun doute. Les work of a 14-year-old as was claimed in 1873 sion. The A major middle section may appear structures, il les véhicule à travers des relations by an early biographer (who also gives him more positive, with its steadily repeated A in plastiques de parallèles musicaux. Ce genre de the erroneous sobriquet “little Jew”). It was the bass and the fi fths layered above it. But connaissances fait accorder fi nalement le jeu in fact written during Chopin’s Paris period, the apparently safe refuge in rural tranquil- subtil des deux mains avec la dynamique. Du at the time when the boundlessly ambitious lity reveals a latent threat and culminates jeu de Koroliov résulte une clarté qui élargit en project of the Etudes op. 25 became a reality. in a fortissimo outburst which leads into a plus la vue d’ensemble du plan de l’œuvre. » This Mazurka in A minor is the only one more ornate version of the fi rst section of (Stuttgarter Zeitung) which – like the Etude op. 25 no. 11, also in A the mazurka, with its gentle resolution. The 2 35 TACET-T183_Seite_2 TACET-T183_Seite_35 partie ainsi que les « Inventionen und Sinfo- The Koroliov Series Vol. V piece begins again at the beginning and ends after all, count up to three. But just try count- nien ». Durant l’année Bach 2000, TACET publia Johann Sebastian Bach: – indecisively. ing along with Chopin’s Mazurka op. 24 no. 1 un enregistrement du « Clavecin bien tempéré » The Well-Tempered Clavier I BWV 846 – 869 A desolate consolation – the mazurka is 2. You may succeed on the second or third ( TACET 93 + TACET 104 ). Ces enregistrements (TACET 93, 2 CDs) Chopin’s elixir of life: an intimation of home, attempt, but you will admire all the more the de Bach ont fait énormément de bruit dans la memory and the future, childhood for a whole subtlety of the pianist as he shortens or length- presse spécialisée internationale. De nombreux The Koroliov Series Vol. VI life, but one that was all too short. ens the note values. It demonstrates the high critiques ne leur attestèrent pas seulement une Johann Sebastian Bach: But what exactly is this mazurka rhythm? art of rubato, and in this particular case Chopin position absolument dominante par rapport The Well-Tempered Clavier II, BWV 870 – 893 It is in triple time like a waltz, but in other even wrote the word “rubato” together with aux nombreuses nouveautés dans le domaine (TACET 104, 2 CDs) respects it changes like a chameleon. It often “lento” as a tempo indication at the start. des enregistrements de « l’année Bach », mais begins with a dotted rhythm (long - short - Various contradictory statements have come les comptèrent aussi parmi les enregistrements The Koroliov Series Vol. VII long), it can be a fl uid triplet or equally down to us concerning Chopin’s own ideas de Bach les plus importants de l’histoire du Claude Debussy: Préludes (TACET 131) a group of two, and in all three cases the about metrical strictness versus interpretative disque et du CD. expected emphasis on the fi rst beat of the bar freedom. “His playing was always noble and The Koroliov Series Vol. VIII may be lacking by being anticipated and held beautiful, his notes always sang, whether at full Sont encore parus chez TACET: Franz Schubert: Grand Duo, Fantasia over the barline. Often the second beat has power or in the softest piano. He took endless (TACET 134) special weight, and often it is on the third that trouble to teach his pupil this legato, mellifl u- The Koroliov Series Vol. I the melodic phrase ends. It would be otiose ous way of playing. “Il (elle) ne sait pas lier deux Johann Sebastian Bach: The Koroliov Series Vol. IX to attempt to list all the possibilities, yet the notes” [“He (or she) doesn’t know how to link The art of Fugue BWV 1080 Robert Schumann: Kreisleriana, mazurka character always comes across clearly two notes together”] – this was his harshest (TACET 13, 2 CDs) Bunte Blätter, Kinderszenen (TACET 153) right from the fi rst few notes.