Review: Chopin Etudes Op. 25, 4 Scherzi

It would be fair to describe the Op. 25 Etudes and Four Scherzi as ubiquitously recorded piano repertoire. For Beatrice Rana, however, these works reflect a relationship she forged with Chopin at a surprisingly late age for a pianist (her study of the Scherzi, she writes, was a product of the pandemic lockdown). The wait was worth it: it’s helped her to appreciate a sophistication sometimes masked under misconception that Chopin’s works are “simple” or should sound a certain way.

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One of Rana’s aims throughout the album is to reveal her “own dimension” on Chopin. True to this idea, many of her stylistic decisions in the Op. 25 set are not only unique but made with certainty. I was a bit taken aback, for instance, on an initial listen of her “Aeolian Harp” (track 1) for its intriguing liberties in tempi and colors. After all, this is not something we hear in Pollini’s equally respectable interpretation (1990, DG), whose strength lies in its consistent fluidity. Rana’s interpretation warrants an additional listen: in doing so, we can see how her choices add a refreshing perspective while tying appropriately into the structure of the writing.

The E minor (track 5) prances along, thanks to the built-in rhythms and appoggiatura patterns. But what makes Rana’s interpretation stand out is her deliberate sense of comedy. Excellent control of the soft dynamics from the outset creates a scurrying effect; additional reiterations of the thematic material metamorphosize in character, eventually arriving unabashedly into the forefront. The E major section (0:58) is quite beautiful: while the radiant melodies display much sensitivity, the right hand’s accompanimental figurations are the perfect complement, gossamer yet sparkling. Perhaps the only thing puzzling was Rana’s decision to hold the final note right into the Double Thirds (track 6), which is not indicated in the score. There might be some harmonic basis for this, but it distracts from the suspenseful rustling of the intervals. Otherwise, the etude itself is flawless. Despite the notoriously tricky fingerwork, Rana can (and does) switch up articulation on a dime. This variety of textures consequently uncovers an element of caprice.

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Like the Etudes, the Four Scherzi also reflect some innovative choices. The first one (track 13) juxtaposes restless fury with introspection. Some might find the contrasts a bit extreme, but they ultimately play to a dynamism we don’t always hear in other recordings. The second (track 14) has a striking bel-canto, as we hear in moments like 0:49. Rana pushes and pulls the tempo a little too much on occasion, leading to some mannered moments, but the expressiveness is nonetheless lovely. Another recent rendition by Seong-Jin Cho (reviewed here) is well worth visiting here. It’s considerably different, with a brisker momentum that for me better embodies the work’s mischief and vigor.

The third scherzo is the best of all and shows mindfulness to a bigger picture. While many pianists give full force to the opening phrase, Rana takes a more held-back approach that is rather unusual. We soon realize that this restraint serves a larger purpose: an effective vehicle for the longer progression at hand. While the performance may not be as blistering as, say, Martha Argerich’s unforgettable 1965 recording, its strength lies in its musicality. If we listen further, more interesting dimensions arise in the hymn-like quality Rana gives to the opening chords of the middle section.

The liner notes, authored by the pianist herself, place focus upon how individual pieces play a role within the larger trajectory of each series – an angle that we don’t always think about since each work is so unique on its own. Rana’s insightful introduction to her personal encounter with Chopin’s music also helps us to understand why she’s chosen to record these works. The sound engineers at Teldex Studios do a great job in bringing out the Steinway’s pleasing warmth.

Rana is wholly successful in putting her distinct mark on these selections. For those more accustomed to a certain ‘type’ of Chopin, this album will expose the unfamiliar within the familiar. It will invite repeated listens and continued reflection – unreservedly recommended.