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The Whole Note

Barbara Karaskiewicz has compiled a fascinating program in her recording Karol Szymanowski Piano Music. It forms a survey of the composer’s work covering nearly 40 years, beginning with Nine Preludes Op. 1, written in 1900. The presence of Chopin is immediately detectable along with vocabulary reminiscent of some Brahms Intermezzi. There is a familiar fluidity and nostalgic ethos that pervades the music. Karaskiewicz plays these beautifully, bringing forward the composer’s unique voice. The Four Etudes Op. 4 reveal the influence of early modernism, with some careful tonal experimentation that Karaskiewicz integrates quite naturally into the character of the pieces.

Szymanowski’s output is generally considered to fall into two periods, of which the second is strongly influenced by Eastern motifs and subject matter. The exotic elements of Scheherazade from Masques Op. 34 take advantage of the angular melodies and dissonant harmonies of the period’s emerging contemporary music.

Karaskiewicz’s programming arch covers a considerable distance and concludes with Two Mazurkas Op. 62 that reveal the fading but ever-present influence of Chopin in Szymanowski’s music.