You participated in the work of the Qualifying Commission as a member of jury. Eliminations for the 17th Chopin Competition began on 13th April. How does the work of the Qualifying Commission differ from the work of the preliminary auditions’ jury?
Stanisław Leszczyński: The Qualifying Commission, which has completed its work, judged the DVD recordings, sent by the pianists from all over the world, got acquainted with their artistic resumes; it had to go through and assess a large amount of material without real, direct contact with the musician. It required a significant amount of concentration. Sometimes after a few phrases, one could tell that the pianist must continue to work on their skills, and sometimes, the members of the jury would listen to a charming recording until it finished. This year we had 450 candidates. 160 qualified for the preliminary auditions and only half of them will return for the finale in October.
Eliminations began on 13th April.
It’s an important, long-awaited moment for the jury, because they can meet the pianists “live”, they will audition them in the Warsaw Philharmonic, with the participation of an audience, so in “normal” concert conditions. This allows us not only to get to know their piano skills, but also their ways of being, their personalities.
How does one assess a talented pianist who is not necessarily a good Chopinist?
Each of the jury members has a different opinion on this topic. Personally, I believe that a really good pianist is able to perform Mozart, Beethoven and Chopin well.
But there is a canon, an essence of Chopin's aesthetics. What does it constitute of?
It’s the matter of opening up the broad spectrum of aesthetics that Chopin’s music embodies. His music may be interpreted in numerous ways and discovered anew all over again, both from the perspective of European culture as well as of culturally distinct corners of the world. Paradoxically, one can notice it among the pianists from Asia, which is represented by dozens of pianists in the current edition of the competition, that if they’re educated in Asia, if they don’t renounce their roots, they present a uniquely interesting interpretations of Chopin’s music. The ones who are willing to Europeanise themselves seek help in perfecting their Chopin skills from European pedagogues, thus often losing their individuality.
A fresh breeze from Asia then?
The canon of Chopin aesthetics is not, unlike before – which was, in fact, a motive for organising the Chopin Competitions – about upholding Chopin’s style. This style can be modified in many ways at any time, it’s characterised by its open form.
But where is it heading?
It’s difficult to set directions. In art personality, individuality and unpredictability is what matters the most. When we listen intently to any mazurka performed by, say, the great Artur Michelangeli, we will be surprised how distinct this interpretation is from the one by Halina Czerna-Stefańska or Artur Rubinstein. A juror, even if he prefers certain stylistics, especially in mazurkas for example, where the manifestation of Chopin’s Polishness is the strongest, should be cautious but open, ready to divest himself of his preferences; while listening to extremely different performances, which we often deal with during the competition, a juror should rise above his experience.
Supposedly, the mazurka is one of the most difficult forms when it comes to interpretations “in the spirit of Chopin”?
There is an opinion that mazurkas are most difficult for pianists from Asia, America or Australia, but their propositions are often incredible, interesting, fresh. The great Chinese pianist Fou Ts’ong charmed us with his mazurkas and won a special prize in 1955 – a newcomer from the Far East taught the Poles interpretations of Chopin’s mazurkas!
There is a rising tide of pianists from Asia. Where does their fascination with Chopin’s music come from?
Maybe it’s an academic answer and a plain one as well, but this is the result of the extreme universality of Chopin’s music. It instantly reached the mentality of a European of the 19th-century, but also the 20th and the 21st – in an equal degree, but in a completely different manner – it addresses the sensitiveness of Asian musicians as well.
And why are the Czechs, our neighbours, not responsive to this universal character of Chopin? Not a single Czech has ever participated in the competition.
There are some talented Czechs, like Ivan Klnskě. The problem, however, lies elsewhere than with nationality. Even more surprising is the absence of pianists from Austria, the country of brilliant composers, although of course we find remarkable pianists who played Chopin fantastically but did not participate in the competition.
I guess you’re a strict juror.
We’ve got one Chopin, who was an ingenious artist, who knew how to combine great emotions with an incredible discipline of form. This sets up enormous requirements for a pianist. A juror has to enforce them.
The organisers of the 17th International Fryderyk Chopin Piano Competition caution not to make or trust any form of ranking. What can you tell about the competition’s standard so far?
Its level is high. There are many interesting pianists among the contestants, some distinct individualities. The competition promises to be interesting, maybe even surprising.
Source: PAP, author: Anna Bernat, transl. Agata Dudek, 14/04/15.