Diary planning can be the bane of your life. There simply aren’t enough hours in the day to do all the things you really want to do. But at least one of the joys of planning ahead is scanning the concert season to see what people are up to, whether you’re looking for a particular piece, composer or performer. A quick skim at 27-year-old Anna Fedorova’s upcoming schedule, for example, reveals a healthy spread of Bach, Mozart, Beethoven, Schubert, Brahms, Prokofiev, Scriabin and Rachmaninov in a range of solo, chamber and concerto performances. But this time it was a return to Chopin, with Fedorova covering all four of the composer’s Ballades and the eight Waltzes that were published during his lifetime. In a neat bit of programming, the Ballades were played either side of the Waltzes. These two musical forms made complementary companions, with the lightness and intricacy of the Waltzes contrasting with the more profound intensity of the complex Ballades.
Fedorova proved to be a compelling interpreter, poised firmly in the driving seat for these pieces and controlling events calmly and with assurance. She displayed a thoughtful and poetic touch in the Ballades with a fiery determination that pierced through the music in whirls of spiralling frenzy, particularly in the thrilling climaxes and tension-fuelled build-ups. The fluidity of her phrasing was well-judged, with subtle and not so subtle changes of pace being carefully but effortlessly executed, although there were moments in Ballade no. 1 in G minor when there was a little too much hold before moving on. The Ballades are masterpieces, with so much going on that they are like mini-symphonies in solo piano form. Fedorova was particularly impressive in Ballade no. 3 in A flat major and Ballade no. 4 in F minor, showing a healthy range of pianistic styles and ensuring that all the inner voices of Chopin’s complex melodic and harmonic lines came through. The rhapsodic flourishes in Ballade no. 1 in G minor and the reflective, gentle rocking and thunderous ferocity of Ballade no. 2 in F major were finely handled, but her judging of when to apply just the right amount of tenderness, and the way she gave power and character to each variation in Ballade no. 4 were particular highlights.