Frédéric Chopin (1810 -1849)
Scherzo No. 2 in B-Flat Minor, Op. 31
Ballade No. 1 in G Minor, Op. 23
Ballade No. 2 in F Major, Op. 38
Ballade No. 3 in A-Flat Major, Op. 47
Ballade No. 4 in F Minor, Op. 52
Nicolas Economou (piano)
rec. July 1984, Kongress-saal, Deutsches Museum, Munich
Reviewed as a download
Deutsche Grammophon 4868705 [42]

Cypriot pianist Nicolas Economou (1953-1993) is nowadays remembered only by connoisseurs of the piano. He was a complicated, temperamental artist who never achieved the heights his talents so clearly promised. He went to Moscow at the age of twelve and studied in what was at that time, probably the best musical education programme in the world. As a westerner in the Central Music School, he was an outsider and his youth drew attention too. The young Nicolas was also very headstrong, independent in his ideals and impatient. I am sure readers may remember other budding, Moscow-trained virtuosi with very similar temperaments! In the mid-to-late 1960s he would return from holidays back home into the Soviet Union with all manner of contraband, albums by The Beatles included. He once got into a fight for his refusal to espouse the virtues of the Volga car over the clearly (to young Nicolas) superior Mercedes.

At sixteen years of age, his mentor Rima Hananina prepared Nicolas for the 1970 Tchaikovsky competition. Although he did not get through to the final stages of the competition, he was immediately noticed. Economou was destined not to complete his studies at the Conservatory but moved to West Germany in 1972. First based in Düsseldorf, he soon moved to Munich and shortly after began to give concerts, starting with a debut at the Herkulessaal. I would love to know more about concerts and tours he made in the mid- and late 70s. Details I have found are sketchy at best. From 1981 onwards I do know that he appeared regularly at Munich’s annual Klaviersommer festival where he collaborated memorably with Friedrich Gulda and Chick Corea.

It was around this time that Economou also began a close friendship with the great Martha Argerich. Although twelve years his senior, Argerich found a kindred spirit in Nicolas, and they would go on to form a lasting musical partnership in concert and (briefly but memorably) on record. The summer of 1984 saw Economou playing Chopin as part of that year’s piano festival. These live performances have circulated amongst collectors for years and the film of the concert has been on YouTube for nearly as long. Deutsche Grammophon, who had a contract with Economou (the brokering of which I believe Martha Argerich had something to do with), have released the tapes as the inaugural issue of a new series of archive recordings, preserving and showcasing significant historical performances of exceptional artistic value.

Economou’s Scherzo No. 2 kicks off the sequence and there is much to admire in this account. We hear a bold, intense, powerful performance, agitated and almost improvisatory in approach. The cascading notes which merge into a con anima theme are shaped with fine skill. This sculptor works with a cold stone, yet the art he produces has real burning in its heart. As the adorable melody builds, we hear a warming and smiling that is delightful, though not unexpected. The Scherzo follows a classic ABA form and that middle trio section, marked at first delicatissimo with its ensuing quavers, rising and descending, is just right for me. Perhaps others may prefer a more refined, restrained approach (I concede he could have paid a little more attention to those leggiero markings), but those attributes are not really part of this artist’s make up. The build-up of passion is handled with great skill, fortissimo chords and all. The coda is magnificent. What an abundance of talent and what confidence in playing.

Chopin’s four Ballades are the epitome of the Romantic age for the piano, just as much as the contemporary works of the Brontës are for English literature. Economou plays all four in sequence and gives a masterclass in virtuosity and style. The stormy development of the first theme in Ballade 1 becomes the sweetest, softest, most bel canto outpouring of the second theme. His later musings and reveries in the inner pages of this same piece are both noble and dashing in equal measure. Economou always sounds masculine and authoritative. There is, too, always the sense that even at full power (and what power), he could still push those throttles forward an eighth of an inch even more! The rich, full sound picture on these DG remastered tapes conveys the huge sound impressively too. There being no booklet issued with the release, I could not ascertain if the recordings were made digitally at the time. My guess is that they were not, which considering the vintage, I and many pianophiles I’ll wager, will most probably be glad about.

Ballade 2 begins with an elegant, pastoral scene. It is even in F major, yet reminds me more of Berlioz than Beethoven. The second subject arrives with a storm and no mistake. Economou’s forceful arpeggios must have tested the instrument that night. The festival has a fine Steinway you’ll be pleased to hear, and the tempest is painted with the most vivid colours and in massive, assured sound. The third piece in the series begins with a long introduction, like a prelude to a drama by Donizetti. The two contrasting themes then presented before us are both joyous, the first a charming dance and the second a cascade of trilling happiness. There is clarity in the singing line and a sparkle throughout these performances that is pure magic. Key changes bring some agitation and turbulence as well as an insight into the craftsmanship of this genius composer. Economou brings a thoroughly convincing interpretation, direct and unapologetic in its honesty.

Ballade No. 4 is the jewel of the set. It is also an immense feat to bring off with the heroism Chopin obviously wanted. Economou’s natural instinct for rubato and his innate musicianship pay off handsomely in the haunting opening. In the extended development section, Chopin introduces those double notes that will become such a feature at the end of the work. Economou’s is a climactic traversal of the ballade, coming as it does at the end of his programme. His technical mastery of the work is complete. Check out his left-hand trills or those climbing arpeggios whilst you appreciate the power he brings to the final pages before the coda. Economou was one of those pianists with big, strong hands and the towering chords he builds will not fail to impress you. The coda itself is all you could wish for.

DG cut out all the applause and most of the audience noise from the tape. I remember the crowd were a noisy one and there was much moving about and coughing. They have done a super job in tidying it up. They do not include the little encore to the Chopin either, which was a Bach prelude. I could not even find out if the Munich recital is here given in its entirety or if the Chopin consisted of the second half of a longer programme. I have to say here that this issue will not be made available on CD. It will be for streaming and downloading only. As I hinted at earlier, I could not find any booklet to go with the release either. I am so grateful for what we do have, nonetheless. Economou’s only mainstream solo record was the Mussorgsky/Schumann coupling he made for the yellow label in 1989. This was six years after that legendary Nutcracker with his dear Argentinian friend (reviewv). Please do check those two records out if you do not know them. Those who want to investigate the wonderful artistry of Nicolas Economou in more depth may be interested to know that a French label called Suoni e Colori did put out several CDs of live material, and if you have the time and resources, you may find the odd copy second hand, I suppose. What a shame though, that we have so little. I have read that he had no patience and no discipline. He went through dark times too, particularly in his final years. Let us remember the good times and the sheer exuberance and life he gave us all, through his music. Thanks to this release, many more of us now can.

Philip Harrison