Yulianna Avdeeva, the celebrated pianist, has recently stirred excitement in the classical music scene with her latest collection featuring Chopin’s late works. It’s worth noting that 14 years ago, she made history as the first woman since Martha Argerich to win the renowned International Chopin Competition in Warsaw, a triumph that has profoundly impacted her career. Despite this milestone, Avdeeva’s performances—both in the UK and through her recordings—have sparked a range of critical responses. Among her discography is a striking recording of the two Chopin concertos, elegantly performed on an Erard piano dating back to Chopin’s time.
In her most recent endeavor, Avdeeva showcases a historic instrument: the Steinway CD-18 previously owned by the legendary Vladimir Horowitz. This piano, now resident at the Tippet Rise Art Center in Montana, played a pivotal role in her recording session. Her interpretation of the first movement of the B minor Sonata Op. 58 highlights the piano’s light action and the unique metallic quality of its tone, which enhances the clarity of her performance.
While Avdeeva’s take on Chopin may lack overt sentimentality, her interpretations exude a sense of steely objectivity. This is particularly evident in her renditions of the Mazurkas Op. 59 and the Op. 62 Nocturnes. Interestingly, she has chosen to omit the last sets of mazurkas and waltzes, suggesting a focused artistic direction. Nonetheless, her commanding presence shines through in works like the sonata and the Polonaise-Fantaisie Op. 61, where she demonstrates undeniable authority and intent. Although her performances might occasionally create a sense of distance from the audience, her sincerity remains steadfast.
This article was updated on October 4, 2024, to clarify that Op. 62 includes two nocturnes, while Op. 59 consists of a set of mazurkas, not nocturnes.
