Forgotten Pianists: Sergio Fiorentino

 by Anson Yeung  April 10th, 2021

Sergio Fiorentino
© bach-cantatas.com

“The only other pianist” – Arturo Benedetti Michelangeli

“Recently I listened to a pianist on the radio who impressed me very much: Sergio Fiorentino, do you know him?” – Vladimir Horowitz

It takes a musical genius to be such highly commended by great pianists like Michelangeli and Horowitz – he is Sergio Fiorentino (1927-1998). Fiorentino is highly esteemed among pianophiles for his technical mastery and musical understanding, but his name has remained rather obscure outside the circle.

His career was indeed an unusual one. Born in Naples, he studied at the San Pietro Majella Conservatory under Luigi Finizio and Paolo Denza and graduated with a diploma in 1946. The 1940s and early 1950s had seen a flourishing career, but an airplane accident in 1954 brought his concert engagements to a halt. Severely injured in the accident, Fiorentino took up a teaching post at the Naples Conservatory of Music and had to re-learn some of the techniques to overcome the disabilities. He returned to a performing life after several years, actively concertising in the UK and Italy and producing recordings. Enigmatically, he later resumed his teaching activities and faded away from the concert stage until 1993, when he came back with the same uncompromising technique. In the last few years of his life, he again launched an international career and recorded extensive discography under Appian Publications & Recordings.

© bach-cantatas.com

Some of his earlier recordings were issued under the pseudonym Paul Procopolis. He was unfortunately involved in the scandals revolving around Concert Artists label, alongside the infamous Joyce Hatto fraud. Fiorentino’s posthumously published recording of Chopin Mazurkas was found to contain tracks from three other albums.

Fiorentino wasn’t the kind of pianist who followed the score strictly. Instead, he remained loyal to the composers by internalising the music, extracting its meaning and displaying deep understanding with interesting ideas. His recording of Chopin Etudes is an exemplary combination of poetry, ferocious technique and creativity. For example, listen to his Chopin Etude Op. 10 No. 2 in A minor and observe how he brought out the hidden line. Liberties were taken without sounding self-indulgent (e.g. 39:00, 55:37).   

Here’s a clip of Fiorentino improvising before a studio recording session. One would be captivated by the warmth of his sound right away. He was a true romantic at heart – his playing had absolute freedom, sensitivity in touch and enticing tone production. Everything came so naturally without any histrionics.  

Fiorentino’s technical prowess gave his playing a sense of ease even in the midst of difficult passagework. Technique was not used merely for show off but at the service of music per se. Note the beautiful legato and inner voices in his performance of Bach’s Jesu, Joy of Man’s Desiring, which asked for fine control of the keyboard and dexterity. This justifies the saying that a great pianist would sound well even on subpar pianos by transcending the “physical” limitations.  

Excelling in transcriptions as well, Fiorentino captured the essence of the original compositions and incorporated some refined pianistic writing. Take his beautiful transcription of Fauré’s Aprés un rêve as an example – its intricate emotions are simply spellbinding!  

Having shunned the limelight in his lifetime, he never achieved the fame that he deserved. On a par with legendary pianists like Richter, Cortot and Gilels, Fiorentino possessed the qualities expected of a great pianist – remarkable artistry, devotion and genuine love for music. His sudden, untimely death in 1998 was undoubtedly a tremendous loss to the classical music world. Fortunately, we were blessed by the substantial amount of studio recordings and audience-made tapes by his admirers (most notably Ernst Lumpe). Fiorentino shall remain in our memory, and his artistic legacy will continue to prevail.

Recommended Recordings of Chopin Piano Concerto No. 1 in E minor, Op. 11

 by Anson Yeung  April 5th, 2022

Frédéric Chopin, after a portrait by P. Schick, 1873
© Library of Congress, Washington, D.C.

One of the greatest piano concertos ever, Chopin Piano Concerto No. 1 in E minor has long been a cornerstone in the repertoire of many concert pianists. It was actually Chopin’s second piano concerto, as it was written after the premiere of Piano Concerto “No. 2” in F minor. Preceded by trials with a quartet and a small orchestra, the premiere took place in October 1830 at the National Theatre of Warsaw with great success. The concerto enjoyed immediate popularity and remained so up to this day.

As we appreciate this masterpiece, we should imagine ourselves as the 20-year-old Chopin deeply enchanted by his first love, Konstancja Gładkowska, who inspired both of his piano concertos. Chopin wrote to his friend Tytus Woyciechowski, “As I already have, perhaps unfortunately, my ideal, whom I faithfully serve, without having spoken to her for half a year already, of whom I dream, in remembrance of whom was created the Adagio of my Concerto” (referring to his Piano Concerto in F minor). Before Chopin left Warsaw, Gładkowska wrote the following poem in Chopin’s diary to bid him farewell:

Yet while others may
Better appraise and reward you,
They certainly cannot
Love you more strongly than we.

I. Allegro maestoso

Konstancja Gladkowska

The orchestra makes a majestic declaration, followed by the second theme in E major marked cantabile, but the music soon resumes its agitated mood. In fact, the indication maestoso often appears in Chopin’s music, such as in Polonaises Op. 26 No. 2, Op. 53 (“Heroic Polonaise”), Op. 71 No. 1, as well as the first movement of Piano Concerto No. 2 in F minor. The piano part presents itself with a powerful, dignified first theme, while the second theme in E major conveys much warmth and intimacy. Later, the second theme appears again but this time in G major, creating a heartrending contrast with the ensuing section with spiralling anxiety and coda, ending in sudden unison in forte.

II. Romanze: Larghetto

The second movement is a breathtakingly beautiful, reverie-like recollection of fond memories, despite the transient turbulence in the middle. In Chopin’s letter to Woyciechowski, he wrote “The Adagio of the new concerto is in E major. It is not meant to create a powerful effect; it is rather a Romance, calm and melancholy; giving the impression of someone looking gently toward a spot which calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening.” There’s probably no better description than this.

III. Rondo: Vivace

While the first two movements were swiftly written, the third movement was completed with some difficulty in August 1830. Full of zeal, vigour and youthful energy, the final movement is based on Krakowiak, a syncopated folk dance from Kraków in 2/4 time. The styl brillant lives up to its full potential with the dazzling passagework, demanding much virtuosity from the soloist. Aside from the technical bravura, the underlying dancing pulse adds even more vivacity to the music. Eventually, the music is brought to a truly triumphant conclusion.

Below are some recommended recordings from me, which are by no means exhaustive!

Krystian Zimerman, Polish Festival Orchestra

© Deutsche Grammophon

Zimerman’s unremitting pursuit of perfection is astonishing – hand-picking each of the musicians of the orchestra, meticulously (or obsessively) planning the travel route, accommodation and meals for musicians during the concert tour, rehearsing for painstakingly long hours, etc. The outcome is equally remarkable, to say the least.

Right from the opening of Allergo maestoso, there was immaculate attention to orchestral parts, revealing many nuances that haven’t been heard of previously. Every sound was tastefully sculpted, each phrase scrupulously shaped, with rubato plentiful. Zimerman’s pianism was exceptional as usual – from the luscious tone colours in Romanze to the technical brilliance in Rondo. This is not only a legendary recording of this masterpiece but also of Chopin’s music as a whole.

Bella Davidovich, Sir Neville Marriner, London Symphony Orchestra

Having studied at the Moscow Conservatory under Konstantin Igumnov and Yakov Flier, Bella Davidovich shared the first prize with Halina Czerny-Stefańska in Chopin Competition in 1949. When I encountered this recording, I was immediately struck by the simplicity, naturalness and poetry in her Romanze. Long singing lines were maintained with bel canto by Davidovich, who was known for her singing tone and sensitive touch. It was completely devoid of sentimentality, coupled with a fine balance between classicism and romanticism, which many pianists overlook today. On the other hand, her reading of Rondo, albeit not the most extroverted, had such poise with a natural emphasis on the underlying pulse.   

Kyohei Sorita, Andrzej Boreyko, Warsaw National Philharmonic Orchestra

In my humble opinion, this is the most outstanding rendition in Chopin Competition in 2021. Combining respect for tradition and creativity, Sorita unearthed so many details throughout (especially inner voices from the left hand), which asked for a deep understanding of the score. For instance, listen to his left hand from 9:20 to 9:28, from 14:18 to 14:22, and the inner line from 12:47 to 12:52. Meanwhile, the emotional aspect was never ignored – żal, poignancy, tranquillity and bliss were all distilled into the first movement, while the final movement was filled with ebullience and verve. What a delight!

Schumann-Liszt Widmung

by Anson Yeung  

Robert Schumann and Clara Wieck © pages.stolaf.edu

Marked by its technical bravura, Widmung (or Dedication in English) has remained one of the most popular encore pieces in piano recital, allowing pianists to display their virtuosity. However, Widmung is much more than a mere showpiece – containing probably the most passionate music writing and most heartfelt feelings. Written by Robert Schumann in 1840 (this piece was from a set of Lieder called Myrthen, Op.25), this piece was later arranged for piano solo by Franz Liszt. Myrthen was dedicated to Clara Wieck as a wedding gift, as he finally married Clara in September, despite the opposition from Clara’s father (who was also Robert’s piano teacher).

Below is the text of Widmung, written by Friedrich Rückert, with English translation:

Original Text by Friedrich Rückert

English Translation (by Richard Stokes, author of The Book of Lieder (Faber, 2005))

Du meine Seele, du mein Herz, Du meine Wonn’, o du mein Schmerz, Du meine Welt, in der ich lebe, Mein Himmel du, darein ich schwebe, O du mein Grab, in das hinab Ich ewig meinen Kummer gab! Du bist die Ruh, du bist der Frieden, Du bist vom Himmel mir beschieden. Dass du mich liebst, macht mich mir wert, Dein Blick hat mich vor mir verklärt, Du hebst mich liebend über mich, Mein guter Geist, mein bess’res Ich!

You my soul, you my heart, You my rapture, O you my pain, You my world in which I live, My heaven you, to which I aspire, O you my grave, into which My grief forever I’ve consigned! You are repose, you are peace, You are bestowed on me from heaven. Your love for me gives me my worth, Your eyes transfigure me in mine, You raise me lovingly above myself, My guardian angel, my better self!

The work starts with a flowing sense of pulse, while the first phrase (“Du meine Seele, du mein Herz”) already captures Schumann’s love for Clara and devotion to the relationship. Here, Schumann sincerely confesses to Clara, declaring how important she is to him. For him, Clara is his angel, his spiritual support, and his entire world. Nevertheless, there is still a sense of fear and insecurity in the music, due to separation and uncertainty about their future. This complex mixture of feelings, as a true and full-bodied representation of love, certainly strengthens the emotional power of the music.

Friedrich Rückert © www.britannica.com

Liszt lengthened the first section by repeating the first theme, but with the melodic line mostly embedded in left hand (with some intertwining) and accompaniment in higher register. Then, the music moves on to the chordal section in E major, which is unchanged in Liszt’s arrangement. The repeated chords convey warmth, tenderness and peace, especially when the text here is associated with death and heaven. Here, the love has changed into everlasting, eternal one – love that transcends space and time.

Franz Liszt © img.wikicharlie.cl

After the brief hand-crossing passage, the music reaches its most technically brilliant and rousing part with arpeggios on right hand and chords highlighting the melodic line on left hand, revealing Schumann’s most intimate feelings. It is the moment when Schumann’s love for Clara becomes so dramatic and uncontrollable, and eventually erupts – a perfect combination of rapture, passion, commitment and sense of elevation. The rich orchestral colours (such as the harp-like figurations, quasi-brass calls) in the music further heightens the emotional intensity. What an outpouring of love here.

In the extended coda, where there are some triumphant chords marked fff, the passion in the music remains, but this time presenting different moods. With ecstatic joy, the music transforms into a declaration, as if Schumann is announcing that he is determined to spend the rest of his lifetime with Clara and willing to make sacrifices in the face of adversity, for Clara is an indescribable miracle of his life.

Recommended Recordings of Chopin Piano Concerto No. 1 in E minor, Op. 11

by Ansons Yeung, Interlude

Frédéric Chopin, after a portrait by P. Schick, 1873
© Library of Congress, Washington, D.C.

One of the greatest piano concertos ever, Chopin Piano Concerto No. 1 in E minor has long been a cornerstone in the repertoire of many concert pianists. It was actually Chopin’s second piano concerto, as it was written after the premiere of Piano Concerto “No. 2” in F minor. Preceded by trials with a quartet and a small orchestra, the premiere took place in October 1830 at the National Theatre of Warsaw with great success. The concerto enjoyed immediate popularity and remained so up to this day.

As we appreciate this masterpiece, we should imagine ourselves as the 20-year-old Chopin deeply enchanted by his first love, Konstancja Gładkowska, who inspired both of his piano concertos. Chopin wrote to his friend Tytus Woyciechowski, “As I already have, perhaps unfortunately, my ideal, whom I faithfully serve, without having spoken to her for half a year already, of whom I dream, in remembrance of whom was created the Adagio of my Concerto” (referring to his Piano Concerto in F minor). Before Chopin left Warsaw, Gładkowska wrote the following poem in Chopin’s diary to bid him farewell:

Yet while others may
Better appraise and reward you,
They certainly cannot
Love you more strongly than we.

I. Allegro maestoso

Konstancja Gladkowska

The orchestra makes a majestic declaration, followed by the second theme in E major marked cantabile, but the music soon resumes its agitated mood. In fact, the indication maestoso often appears in Chopin’s music, such as in Polonaises Op. 26 No. 2, Op. 53 (“Heroic Polonaise”), Op. 71 No. 1, as well as the first movement of Piano Concerto No. 2 in F minor. The piano part presents itself with a powerful, dignified first theme, while the second theme in E major conveys much warmth and intimacy. Later, the second theme appears again but this time in G major, creating a heartrending contrast with the ensuing section with spiralling anxiety and coda, ending in sudden unison in forte.

II. Romanze: Larghetto

The second movement is a breathtakingly beautiful, reverie-like recollection of fond memories, despite the transient turbulence in the middle. In Chopin’s letter to Woyciechowski, he wrote “The Adagio of the new concerto is in E major. It is not meant to create a powerful effect; it is rather a Romance, calm and melancholy; giving the impression of someone looking gently toward a spot which calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening.” There’s probably no better description than this.

III. Rondo: Vivace

While the first two movements were swiftly written, the third movement was completed with some difficulty in August 1830. Full of zeal, vigour and youthful energy, the final movement is based on Krakowiak, a syncopated folk dance from Kraków in 2/4 time. The styl brillant lives up to its full potential with the dazzling passagework, demanding much virtuosity from the soloist. Aside from the technical bravura, the underlying dancing pulse adds even more vivacity to the music. Eventually, the music is brought to a truly triumphant conclusion.

Below are some recommended recordings from me, which are by no means exhaustive!

Krystian Zimerman, Polish Festival Orchestra

© Deutsche Grammophon

Zimerman’s unremitting pursuit of perfection is astonishing – hand-picking each of the musicians of the orchestra, meticulously (or obsessively) planning the travel route, accommodation and meals for musicians during the concert tour, rehearsing for painstakingly long hours, etc. The outcome is equally remarkable, to say the least.

Right from the opening of Allergo maestoso, there was immaculate attention to orchestral parts, revealing many nuances that haven’t been heard of previously. Every sound was tastefully sculpted, each phrase scrupulously shaped, with rubato plentiful. Zimerman’s pianism was exceptional as usual – from the luscious tone colours in Romanze to the technical brilliance in Rondo. This is not only a legendary recording of this masterpiece but also of Chopin’s music as a whole.

Bella Davidovich, Sir Neville Marriner, London Symphony Orchestra

Having studied at the Moscow Conservatory under Konstantin Igumnov and Yakov Flier, Bella Davidovich shared the first prize with Halina Czerny-Stefańska in Chopin Competition in 1949. When I encountered this recording, I was immediately struck by the simplicity, naturalness and poetry in her Romanze. Long singing lines were maintained with bel canto by Davidovich, who was known for her singing tone and sensitive touch. It was completely devoid of sentimentality, coupled with a fine balance between classicism and romanticism, which many pianists overlook today. On the other hand, her reading of Rondo, albeit not the most extroverted, had such poise with a natural emphasis on the underlying pulse.

Kyohei Sorita, Andrzej Boreyko, Warsaw National Philharmonic Orchestra

In my humble opinion, this is the most outstanding rendition in Chopin Competition in 2021. Combining respect for tradition and creativity, Sorita unearthed so many details throughout (especially inner voices from the left hand), which asked for a deep understanding of the score. For instance, listen to his left hand from 9:20 to 9:28, from 14:18 to 14:22, and the inner line from 12:47 to 12:52. Meanwhile, the emotional aspect was never ignored – żal, poignancy, tranquillity and bliss were all distilled into the first movement, while the final movement was filled with ebullience and verve. What a delight!