Composer: CHOPIN, Frédéric (1810-1849)
Works: Mazurkas, opp. 6, 7, 17, 24, 30, 33, 41, 50, 56, 59, 63, 67, 68, “A Emile Gaillard”, “Notre temps”
Performer: Nina Milkina (pianoforte)
Recorded: Wigmore Hall, London, April 1970
Label: UNTERSCHRIFT CLASSICS
Format: [2 CDs, 68.33, 75.25]
Ordering Info: Available from [email protected] (£15 for the 2CD set incl p&p)
In the pantheon of recordings dedicated to Chopin’s Mazurkas, Nina Milkina’s interpretation stands as a compelling testament to the intersection of historical tradition and personal artistry. This two-CD set, recorded in the illustrious Wigmore Hall, captures the essence of these works—both as manifestations of Chopin’s Polish heritage and as deeply personal expressions of his musical language.
Milkina, born in 1919, emerges from a lineage of pianist-teachers who understood the Mazurka not merely as a dance form but as an intricate dialogue between folk tradition and classical sophistication. Her background—having learned the nuances of the Mazurka from her parents—infuses her performance with an authenticity that is often overlooked in contemporary interpretations. The rhythmic vitality of the Mazurkas is paramount; Milkina’s ability to articulate the essential tripartite structure of these pieces is particularly notable. Many performers, in a rush to convey the vivacity of Chopin’s rhythms, homogenize the meter, treating these works as if they were in a simple two-beat structure. Milkina, however, deftly maintains the distinct three-beat pulse, allowing the music to breathe and dance, as evidenced in her treatment of op. 33/2, which resonates with a raucous, folk-like exuberance.
The interpretative choices Milkina makes are both illuminating and occasionally contentious. In the opening Mazurka, op. 6/4, she adopts a slower tempo, where others might rush to a more vigorous presentation. This deliberate pacing unveils the piece’s lyrical underpinnings, revealing a wistfulness that echoes the sentiments found in Rubinstein’s more tempestuous renditions. Yet, unlike Rubinstein, whose performances often brim with an assertive bravado that risks obscuring the music’s subtleties, Milkina’s approach invites introspection. She captures the essence of Chopin’s lyricism without sacrificing the inherent rhythmic drive.
Milkina’s interpretation of op. 7/1 demonstrates her capacity to balance stately elegance with vivacity. Here, she resists the temptation to indulge in excessive exuberance, offering a reading that is both refined and vibrantly alive. This nuanced approach contrasts sharply with Horowitz’s more flamboyant interpretations, which, while compelling, can sometimes obscure the folkloric qualities that define the Mazurkas.
In terms of recording quality, the sound captures the intimate ambience of the Wigmore Hall, though it does reflect the dry tonality characteristic of Pye’s engineering from the late 1960s. While some may find the recording a bit close, it nonetheless preserves the clarity of Milkina’s articulation. A more expansive sound may have benefited the overall warmth of her playing, allowing the resonances of the piano to bloom fully.
Historically, Chopin’s Mazurkas occupy a unique position in the repertoire—not only as concert hall staples but as deeply personal reflections of Polish identity and national sentiment. Each Mazurka invites the listener into a world of rhythmic and melodic exploration, where Chopin’s thematic material often evokes the heart of Polish folk music. Milkina’s interpretations resonate with this historical significance, as she navigates the delicate balance between the music’s peasant roots and its classical refinements.
While the performances are predominantly successful, a few moments—such as in op. 33/3—seem to falter slightly. Here, the rhythmic vitality does not fully translate, and the dance-like quality feels momentarily stagnant, suggesting that the performer’s internalized sense of movement did not fully emerge in this instance. Nonetheless, such instances are rare, and they do not detract significantly from the overall impact of the set.
In conclusion, Nina Milkina’s recordings of Chopin’s Mazurkas are a valuable addition to the discography of these exquisite works. They reflect a profound understanding of the music’s roots and an interpretative depth that honors Chopin’s genius. This set invites both seasoned listeners and newcomers alike to explore the intricate layers of Chopin’s art. For anyone invested in the piano repertoire and the spirit of Polish music, Milkina’s interpretation offers insights that merit deep listening and reflection. It stands alongside the recordings of her contemporaries, not merely as an alternative but as an essential perspective within the vast landscape of Chopin interpretation.
