Antonio Pompa-Baldi - Chopin: 4 Scherzos (2026) [Hi-Res]

Tracklist

01. Scherzo No. 1 in B Minor, Op. 20, B. 65
02. Scherzo No. 2 in B-Flat Minor, Op. 31, B. 111
03. Scherzo No. 3 in C-Sharp Minor, Op. 39, B. 125
04. Scherzo No. 4 in E Major, Op. 54, B. 148

In his program notes for the album, Pompa-Baldi writes:
Among the large-scale works that Frederic Chopin wrote for the piano, the four Scherzos occupy a unique and fascinating place. The term scherzo—Italian for “joke”—had long been used to describe a light, playful movement, often replacing the minuet in Classical symphonies and sonatas. Yet in Chopin’s hands the genre is transformed into something far more dramatic and expansive: music of explosive energy, passionate intensity, and profound poetry.

The first three Scherzos share an unmistakable impetuous spirit. Their openings burst forth with a sense of urgency that feels almost orchestral in its sweep, immediately establishing a world of heightened emotion. The contrasts within these works are striking: stormy passages of dazzling virtuosity give way to lyrical episodes of remarkable tenderness and introspection. In this sense, Chopin creates vast emotional landscapes within relatively concise forms.

The central sections often provide moments of repose—almost like visions glimpsed through a storm. In both the Second and Third Scherzos, the luminous chorale-like episodes evoke an atmosphere of quiet contemplation, gradually building up to a noble and expansive lyricism. These moments do not diminish the dramatic tension; rather, they intensify it, framing the surrounding turbulence with a sense of poetic depth.

The Fourth Scherzo stands somewhat apart in character. Here, one senses an elegance and lightness reminiscent of Felix Mendelssohn and his celebrated fairy-like scherzos. The music sparkles with wit and buoyancy, yet it remains unmistakably Chopinesque in its texture and pianistic imagination. The writing for the instrument retains Chopin’s uniquely fluid brilliance, while the lyrical middle section and the radiant coda reveal the composer’s unmistakable voice—warm, expressive, and deeply poetic.

Taken together, the four Scherzos represent for me the quintessential genius of Chopin. They are perfectly framed within a clear and compelling formal structure, yet within that structure the composer preserves an extraordinary freedom of invention. At their finest moments, these works seem to capture inspiration in its purest form: impetuous, passionate, and utterly original.