It is with immense joy that I welcome you to A Portrait of Chopin, an album born from my deep love for Chopin’s piano concerti and chamber music. These recordings of his First and Second Piano Concerti, arranged for piano and string quartet, offer a fresh and intimate perspective on these beloved works.

This album is deeply personal to me, as Chopin’s concerti have long been a cornerstone of my musical life, their lyrical beauty and emotional depth resonating in ways few other works do. Yet, I’ve always been struck by their chamber-like qualities – the interplay between piano and orchestra that seemed destined for a more intimate ensemble. Reimagining these masterpieces with a string quartet not only allows these qualities to shine but also invites listeners to experience Chopin in a new light, immersing themselves in the nuanced dialogue of voices, much like in the salons where Chopin himself might have performed. This album is a testament to the enduring versatility of his genius, thriving equally in the grandeur of the concert hall and the intimacy of the chamber.

The Carducci Quartet brings extraordinary depth to this project, creating a dynamic dialogue that feels truly authentic. Our approach was not to imitate an orchestra but to fully embrace the intimacy of a chamber ensemble. This allowed us to explore the conversational interplay between piano and strings in a way that highlights the music’s raw emotional core.

A great joy of this project was recording on the remarkable Shigeru Kawai piano. Its clarity, richness of tone and responsiveness allowed me to explore the full expressive range of these works in ways I had never imagined. I am deeply grateful to Kawai for their generosity and support.

Thank you for embarking on this journey with us, dear listener. I hope these performances bring you as much inspiration and joy as they brought me in bringing them to life.

Lara Melda

Chopin’s Piano Concerti

Chopin’s Piano Concerti Nos.1 and 2 are among his most celebrated works, showcasing not only his extraordinary skill as a pianist but also his unparalleled ability to compose music of lyrical beauty and emotional depth. Composed between 1829-1830 during his late teens and early twenties, these concerti reflect a young artist at the height of his creative powers. Interestingly, despite being published as the “Second Concerto”, the Concerto in F minor (Op.21) was actually composed first in 1829. However, his Concerto in E minor (Op.11), composed in 1830, was published first, leading to its designation as the “First Concerto”. This reversal in numbering has led to some confusion but does little to diminish the impact of either work. Both concerti, written shortly before Chopin left Poland in 1830, carry an emotional resonance rooted in a deep connection to his homeland.

While traditionally performed with a symphony orchestra, these works have always possessed a distinctly chamber-like quality – a trait that feels particularly at home in this arrangement for piano and string quartet. This version reimagines these concerti in a way that allows their more intimate qualities to shine. Stripped of the grandeur of an orchestral setting, the music feels closer and more personal, bringing listeners into an atmosphere reminiscent of the salons where Chopin himself often performed. This sense of intimacy feels especially poignant given Chopin’s exile from Poland, with the longing and nostalgia in these pieces further underscored. The arrangement offers a new lens through which to appreciate the genius of these works, emphasising the conversational interplay between the piano and strings and uncovering subtleties in the score that might be overlooked in a larger-scale performance.

Piano Concerto No.1 in E minor, Op.11

Chopin’s Piano Concerto No.1, composed in 1830, is a masterpiece of Romantic expression, filled with youthful passion and deep emotion. The opening Allegro maestoso begins with a grand orchestral introduction, where the strings announce the dramatic themes that the piano later develops with elegance and virtuosity. In the quartet arrangement, this orchestral opening transforms into a richly layered conversation between the strings, setting the stage for the piano’s poetic first entry. The contrast between the piano’s introspective lyricism and the energetic dance-like second theme reflects Chopin’s ability to blend heartfelt emotion with moments of lightness and charm.

The Romance: Larghetto is the heart of the concerto and one of Chopin’s most tender movements. Often described as a musical love letter, it exudes an ethereal, nocturne-like quality with its serene and poetic melody floating over an unobtrusive accompaniment, creating an otherworldly sense of intimacy. Chopin described this movement as evoking the “moonlight” of a beloved landscape, and its delicate beauty invites a deeply personal connection.

The Rondo: Vivace finale is a vibrant conclusion that draws on the lively rhythms of Polish folk dances. Its playful energy and technical brilliance paired with the buoyant interplay between piano and strings mirrors the spontaneity and joy of a shared musical dialogue, making this movement feel as vibrant as it is playful and almost celebratory. This movement not only highlights the piano’s virtuosity but also encapsulates Chopin’s affection for his cultural roots.

Piano Concerto No.2 in F minor, Op.21

Chopin’s Piano Concerto No.2, composed in 1829, is equally rich in emotional depth but takes on a more introspective tone. The opening Maestoso introduces a noble, brooding theme in the strings, that gradually unfolds into virtuosic passages of great complexity. The movement alternates between moments of stormy passion and tender lyricism, reflecting the Romantic spirit of the era.

The Larghetto is often considered one of Chopin’s most beautiful and personal statements. Written during a time when the composer was infatuated with a young singer, Konstancja Gładkowska, this movement expresses a sense of longing and unspoken emotion. The piano’s melody, almost operatic in its phrasing, sings over a delicate string texture, creating a deeply moving musical soliloquy.

The finale, Allegro vivace, is a lively and exuberant dance, drawing inspiration from the krakowiak, a traditional Polish dance. Its syncopated rhythms and light-hearted charm bring a sense of joy and vitality to the conclusion of the concerto. This movement encapsulates Chopin’s ability to infuse his music with both technical brilliance and an unmistakable connection to his homeland.