Chopin: Scherzos Nos.1,2,3,4 / Remastered (reference recording: Arthur Rubinstein 1959)

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Frédéric Chopin (1810-1849) The 4 Scherzos
00:00 Scherzo No. 1 in B minor, Op. 20 (2023 Remastered, Studio 1959)
09:07 Scherzo No. 2 in B flat minor, Op. 31 (2023 Remastered, Studio 1959)
18:53 Scherzo No. 3 in C sharp minor, Op. 39 (2023 Remastered, Studio 1959)
26:09 Scherzo No. 4 in E Major, Op. 54 (2023 Remastered, Studio 1959)

Piano: Arthur Rubinstein
Recorded in 1959
New mastering in 2024 by AB for classicalmusicreference.com/
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Scherzo in B minor, Opus 20 ( www.musicologie.org/ )
Begun in Vienna in 1831 and completed in Paris the following year, the first Scherzo (Presto con fuoco), with its demonic intensity, feverish convulsions, desperate tones, and the frenzied fury of its conclusion, seems to reflect—up to the point of frenzy—the feelings of pain and revolt that Chopin experienced during the unfolding events in Warsaw. At the very least, it is difficult to explain such a storm of emotions otherwise, and the beautiful respite in the form of a lullaby that constitutes the central section does not contradict this hypothesis: “In a rare instance, Chopin directly references the folklore of his native country here, a Polish Christmas carol, Lulajże, Jezuniu (‘Sleep, Little Jesus’). The intention is clear: the exile, barely away from home, in the height of the storm, thinks of all those with whom he will no longer share the evening vigils.”

Scherzo in B-flat minor, Opus 31 ( www.musicologie.org/ )
Composed in 1837, this second scherzo, the most well-known of the four, was admired by Schumann, who saw in it a "Byronic poem." More elaborate than the first and also more complex, it captivates from beginning to end, from its initial questioning punctuated by vigorous chords to its resolute conclusion, passing through fervent, passionate developments, full of dazzling pianism. In the middle of this piece, which can indeed be described as a poem, lies a strange trio (sostenuto): it seems at first to be searching for its path, then adopts the character of a melancholic mazurka before transforming into a waltz. And here comes the surprise: “Just when one expects the return of the first section, a powerful development of the mazurka emerges, transformed from the fragile dance it was into a dark agitato, spurred on by the triplets of its third beat, interspersed with elements borrowed from the beginning of the piece. Reaching its breaking point, con fuoco, it fades, unravels, and returns to the mysterious silence from which it emerged. Only then can the scherzo resume…”

Scherzo in C-sharp minor, Opus 39 ( www.musicologie.org/ )
Composed during the final weeks of Chopin's stay in Majorca (January 1839), the third scherzo, the shortest of the four, seems to bear the mark of that time from its mysterious introduction, filled with ominous shadows. The following sections, with their relentless fury, are reminiscent of the suffocating and sinister atmosphere of the darkest of the Preludes written around the same time. In the central part, a majestic chorale theme emerges, rising in several phrases, each time interspersed with a delicate, flowing shower of eighth notes. This theme leaves a profound imprint on the piece, especially as, after the return of the scherzo proper, it reappears insistently, with a minor passage that imbues it with a deep sense of desolation.

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Frédéric François Chopin PLAYLIST (reference recordings):    • Frédéric François Chopin (1810-1849)