'Chopin sans Chopin' - pianist Adam Golka excels in viewing wide-ranging 19th & 20th repertoire through the lens of the piano giant

Polish-American pianist Adam Golka already has three recordings with First Hand Records under his belt, with repertoire covering Beethoven, Brahms and Schumann. But with his new recording, Chopin sans Chopin, he takes a different turn. The fascinating premise covers a wide range of 19^th and 20^th century music, all through the lens of Chopin, without a note of Chopin actually played. Golka explains in his fascinating and personally reflective notes the significance but also the burden of Chopin for a pianist of Polish heritage. As the son of Polish parents, a pianist and a piano technician, Chopin’s music loomed large, and perhaps in reaction to this, he describes how he turned away from Chopin to other repertoire. The album is therefore part of his ‘wading upstream towards the river’s source’, a kind of return to Chopin and his Polish heritage. So for all the music here – some close to Chopin either chronologically or stylistically, some seemingly further removed – there is a rationale for us to view it in terms of being either directly or indirectly inspired by Chopin. 

So he begins with a beautifully flowing and calm reading of Fauré’s Nocturne No. 4, Op. 36. Fauré’s later Nocturnes push the boundaries of the form harmonically and scale-wise, but here, we’re very much in the moonlit, lyrical territory of Chopin’s. Yet listening with the earlier composer in mind immediately casts a different light on the work, and the same happens with Brahms’ Scherz, Op. 4 that follows. It’s hard to comprehend that Brahms allegedly denied any influence of Chopin on the piece, as both in terms of dramatic mood and specifics of repetition and octave passages, the links are strong. Golka’s performance here also manages to bring out the lighter moments that some weightier readings miss, making the connection even stronger, particularly with the opening mercurial figures, yet he doesn’t hold back on the drama either, especially driving to the wild conclusion. Several rather neglected Polish composers also receive attention, beginning with a delightful Mazurka from Natalia Janotha (1856-1932), a premiere recording, no less. She studied with Clara Schumann, and may also have had lessons from Brahms. Golka has combined elements of two published versions of this gem from 1894, and his delicate articulation around its engaging melodic line is contrasted well with the quirky, almost jazzy, even ragtime-esque central section, with a wild flourish into its closing section. Much wilder, more extravagant Romanticism comes next in the form of Scriabin’s surging Fantasie, Op. 28, steeped in his reverence for Chopin. Golka rides its glorious waves, and the build to the conclusion is nothing short of remarkable. Back to Poland next for another Mazurka, this time by Roman Maciejewski (1910-1998), subtitled Wieczorem (Upon Evening), probably dating from the composer’s time in Sweden, to where he emigrated at the start of World War II. It has glassy, Ravelian harmonies, as well as Stravinskian and Poulenc-infused bouncy rhythmic sections, yet there are still hints of Chopin’s melodic twists that remind us of the Mazurka form, and Golka’s warm tone and delicate articulation is a delight here. Next we travel to Mexico, for Manuel Ponce (1882-1948) and his Balada Mexicana, with its infectious folk melody with gently rocking accompaniment. A florid outburst leads to a more graceful, nostalgic central section based on another folk song, Acuerdate de mi (Remember me), and Golka ripples through the runs and trills before returning with virtuosic ebullience to the opening heart-on-sleeve melody. 

A slight left-turn next, to Gershwin’s Three Preludes. Chopin, you say? Well Chopin’s Prelude No. 2 is surely there in the left hand of Gershwin’s No. 2, and the movement has the same dark edge in its movement, perfect for the bluesy right hand. It’s often played slower than here, although it is marked andante con moto, and Golka’s sense of movement works well. Either side, the first has joyful rhythmic energy, and the third drives through like a Chopin Fantasie. Back to Poland again for Władysław Szpilman (1911-2000), known to most as the protagonist of Polański’s film The Pianist. His Mazurka is full of heartbreaking nostalgia, with self-evident homage to Chopin, and Golka infuses this miniature with moving simplicity. And finally, Golka heads into the jazzy world of Nikolai Kapustin (1937-2020), for two of his 8 Concert Etudes, Op. 40. No. 7, Intermezzo moves from laid-back jazzy swing into a virtuosic, theatrical display, and No. 8, Finale, with its train-like running rhythm gives Golka the chance to show off his command of its fiendish technical demands. The Chopin thread aside, the range of repertoire on this disc is extensive, and Golka is impressive throughout. And the trick of making us listen with Chopin in mind works remarkably well, bringing out new connections in the few familiar works here, but also demonstrating the wide-spread and sometimes unexpected influences Chopin has had on piano repertoire across the centuries since. I appreciate the baggage attached, but it would be great to hear Golka record some Chopin now – maybe reverse the lens from this disc, to some of the pieces mentioned that connect with this repertoire?

Various. 2026. Chopin sans Chopin. Adam Golka. Compact Disc. First Hand Records FHR168.

My review of Golka playing Schumann here.