Composer: Ignacy Jan Paderewski, Karol Szymanowski, Witold Lutosławski
Works: Violin Sonata in A minor (1880), Violin Sonata in A minor (1904), Partita for violin and piano (1984)
Performers: Robert Szreder (violin), Boguslaw Jan Strobel (piano)
Recording: August 1992, Polish Radio Studio 2, Warsaw, DDD
Label: Pavane ADW 7283
This recording presents a fascinating juxtaposition of Polish violin and piano repertoire, showcasing three distinct yet interconnected works by Paderewski, Szymanowski, and Lutosławski. Each piece reflects its composer’s unique voice while also echoing broader musical movements. Paderewski’s Violin Sonata in A minor, composed in 1880, embodies the lush romanticism of its era, while Szymanowski’s 1904 sonata provides a glimpse into the emerging modernism of early 20th-century Poland. Lutosławski’s Partita, composed in 1984, stands as a testament to the evolution of Polish music, revealing the complexities of post-war composition.
Robert Szreder and Boguslaw Jan Strobel deliver a vigorous interpretation of Paderewski’s sonata, which, with its grand gestures and gypsy-inflected themes, demands a strong commitment to its emotional content. Szreder’s approach is marked by a dramatic flair that complements the piano’s lush textures, though at times one might yearn for a touch more nuance, particularly in the Andantino, where subtlety could enhance the emotional interplay. The duo captures the humor inherent in the work, notably in the spirited conclusion of the second movement, which mirrors the capriciousness of the gypsy style. This performance aligns well with the sonata’s Romantic lineage, akin to the works of Franck and Sarasate, providing an accessible yet compelling entry point for listeners.
Transitioning to Szymanowski, the performers embody a more refined aesthetic, echoing the composer’s flirtation with impressionism and modernism. The early Szymanowski exhibits a language rich in color and texture, and Szreder navigates this with dexterity, particularly in the Andantino tranquillo e dolce. Here, the delicate interplay between violin and piano becomes a meditation on sound and silence, with moments of staccato-pizzicato brilliantly juxtaposing lyrical lines. The emotional trajectory of the first movement’s patetico section (5.14) foreshadows the composer’s later masterpieces, revealing a depth of feeling that transcends mere technical execution. The pianist’s touch is equally commendable, maintaining a balance that highlights the sonata’s lyrical qualities without overpowering the violin.
Lutosławski’s Partita introduces a stark contrast, with its fragmented structure and modernist elements that challenge traditional expectations. The five movements create a dynamic landscape that oscillates between folk elements and avant-garde dissonance, with Szreder and Strobel adeptly handling its demanding technical prowess. The expansive Largo serves as the emotional anchor of the piece, where the duo’s coordination shines, capturing the tension between the lyrical and the dissonant. The engineering of the recording allows for clarity in this intricate work, although the more abrupt transitions between movements could have been enhanced with smoother segues.
This collection not only serves as a platform for exploring the evolution of Polish violin and piano music but also showcases the technical and interpretative prowess of Szreder and Strobel. Their performance is both virtuosic and deeply engaged with the emotional undercurrents of the repertoire. The recording quality captures the essence of the live performance, allowing the listener to appreciate the nuances of each work.
Listeners with an affinity for grand romantic gestures will undoubtedly find joy in the Paderewski and Szymanowski sonatas. The Lutosławski, while stylistically distinct, invites contemplation on the trajectory of Polish music—a fitting conclusion to a diverse recital. This disc serves as a valuable addition to any collection, illuminating the rich tapestry of Polish musical heritage with both vigor and sensitivity.
