 Le disque réparera-t-il l’injustice ? Les Concertos pour piano de Koczalski, interprète inorthodoxe de Frédéric Chopin dont les gravures restent aussi remarquables que contestées, fut d’abord compositeur, et des plus prolixes : 150 numéros d’opus qui le placent en marge du groupe Jeune Pologne où brillaient les talents plus modernes de Szymanowski, de Fitelberg. Mais Koczalski a son ton propre, sa lyrique, son écriture reconnaissable immédiatement par ses couleurs exactes, ses mélodies senties, la perfection d’une écriture jamais académique qui le rapprochent d’un Medtner dont il a les accents rapsodes, d’un Rachmaninov pour le pathos comme pour les fulgurances. Les deux derniers Concertos pour piano se contrastent : le 5e, composé en 1942 dans les tensions qu’on imagine, est une œuvre au noir, amère, âpre, mais la perle des deux reste l’ultime 6e, partition d’un lyrisme crépusculaire, d’une poésie envoutante, vrai chant du cygne de son auteur qui s’éteindra deux années plus tard. Joanna Lawrynowicz en domine l’écriture profuse, trouve la lyrique si singulière de ces deux opus, porté par l’orchestre poétique de Lublin. Et si demain Wojciech Rodek se penchait sur les deux Symphonies ? (Discophilia - Artalinna.com) (Jean-Charles Hoffelé) Born in Warsaw, to a family with strong musical traditions. From his early years his parents saw the youngster’s incredible musical talent. He took his first piano lessons with Julian Gadomski. Already at the age of four, he performed publicly. One of the critics wrote in the ‘Kurier Poznanski’ – a small child sat in front of a piano on which Chopin played during his life, and performed his waltz and a few other pieces, which amazed the audience, and only a month later he left with his parents on his first concert tour. As it turned out, one of the key events for his future career was a short trip to St. Petersburg. In the presence of one of the most renowned pianist in Europe – Anton Rubinstein – Raul performed the Waltz in A flat major op. 69 no. 1. As the master himself said – if his talent will continue to develop this well, he will claim one of the most important places within the performing arts. He continued his studies under Karol Mikuli. His compositional legacy contains 150 opuses and numerous works without an opus, representing nearly all genres, amongst them not only piano works (9 sonatas) or songs (over 200), but also ballets, operas, two symphonies, a violin concerto, a cello concerto, 4 violin sonatas, 2 cello sonatas, 3 piano trios and, what is unusual, 6 piano concertos originating in various periods across his creativity.
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