12 Études, Op. 25
Scherzo No.1 in B minor, Op.20
Scherzo No.2 in B flat minor, Op.31
Scherzo No.3 in C sharp minor, Op.39
Scherzo No.4 in E, Op.54

Upon my initial listening session into this new recording by Italian pianist Beatrice Rana I was at once struck not only by her astonishing technique, but even more so by her "old-school" musicianship. By that I mean to say that so many of today's new generation of up-and-coming pianists seem to focus on technique and speed simply for the sake of velocity, but don't seem to have a single musical bone in their bodies. They all end up sounding inexpressive, and uninvolved with the impulse within the music. And if they do include a bit of self-expression it always sounds contrived or even clichéd.

On the other hand, Beatrice Rana's expressive touches seem innate as if a natural extension of the music itself. In the booklet notes she points out: With Chopin's rubato, one must always stay within a solid framework when changing the tempo. Performers' musicality can be judged on how well they maintain the rhythmical balance of each phrase; only then is there scope to introduce plenty of freedom. Liszt used a beautiful image to define Chopin's rubato. "Do you see these trees? The leaves play and flutter in the breeze, but the tree remains still". You need to work out what the trunk is, and how to move the leaves without it breaking. There is no room for indiscriminate storms of rubato when playing Chopin. Take for example the mighty Étude No. 12 in C minor. Simply looking at the score is enough to intimidate any pianist. What with its endless series of two-handed ascending and descending arpeggios spanning more than three octaves, which sound like ferocious ocean waves pounding away at mighty cliffs. These demand a commanding technique and nerves of steel to execute properly, but they are not the kernel of the work. Within this constant barrage of notes lies a much slower theme of rugged, primeval and epic proportions like the mighty Neptune of the sea unleashing these powerful waves. Beatrice Rana balances these two opposing elements extremely well. Muscle and influence behind the main theme, without altering the fluidity and speed of the arpeggios. At the 1:00 minute mark for example, her slow and deliberate crescendo seems to invoke Neptune's rise from the depths to once again command the winds to batter the waves against the shore. Remarkably impressive!

The 4 Scherzi, with their manifold contrasts, from the most bellicose moments to some of Chopin's most tender and profoundly eloquent passages, require pianism driven by the heart and soul to come across as intended by the composer. Beatrice Rana is such a pianist which can alter the character of the music at a moment's notice without affectation. Musicianship at its best, which portrays Chopin as the true conqueror of the piano.