Preludia - Unofficial website for Rafal Blechacz

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Jun 30, 2008

Happy Birthday Rafał Blechacz!

To celebrate Rafał’s 23rd Birthday,

Let me express my heartfelt congratulations to your birthday
and appreciation for the beautiful music that you always bring to us.

Actually, your piano changed my life.
Every time I listen to your music, my heart and mind are fulfilled with happiness.

I sincerely wish for your continued health and success!


Blechacz was born on June 30, 1985.


Sto lat, sto lat niech zyje, zyje nam!
Sto lat, sto lat niech zyje, zyje nam!

Happy birthday to you, happy birthday to you,
Happy birthday, dear Rafał,
Happy birthday to you!

Jun 19, 2008

Blechacz Recital in Prague in June, 2008

Rafał Blechacz held Recital at Dvorak Hall of Rudolfinum, Prague on June 4, 2008.



Some Japanse fans had an opportunity to attend the recital.


The followings are some of their comments.

---------
(Comment #1)
This was the first time that I listened to Rafał’s playing Mozart.
From the very beginning, the first movement of Sonata k311 had a great impact on me.
Dazzled by rapidly changing scenes at extremely quick tempo, I had an impression that Rafał is a young child excitedly playing with an overturned toy box.
Sometimes I was wondering if he was too much playful.
But I think that he tried to express the bright first movement in a more lively, spirited manner.
I was anxious what follows in the second and third movements.
It turned out that the next movements settled down right and I felt he played them quite lovely.



The Japanese fans were already shown his interpretation of Debussy “Estampes” during his Japan tour last year.
Generally, my impression of it remains unchanged.
His rendition stays clear consistently from “Pagodas” with loose reverberation through to “Gardens in the Rain” with technical accomplishment.
His coloristic rendering implies more primary colors than I expect.
Personally, I wish it had more neutral colors, but I think this is how he is inspired at this moment.

Then I had the opportunity to listen to Variations of Szymanowski for the first time since Hamamatsu Piano Competition.
Compared to five years ago, Rafał played them more passionately and devoted all body and soul to the pieces, especially towards the end of the finale without fear of making mistakes.
I felt that he has enhanced the empathy with the work of his compatriot composer.

After the intermission, the second half of the program was Chopin, Rafał’s strength.
Nearly a year has been passed since his recording of Preludes with Deutsche Grammophon.
Isn’t there any other pianist in the world who has played Preludes in live concerts for the past year more intensively than Rafał Blechacz?
And no pianist remains unchanged in the way he plays over time or depending on the conditions.


I had an impression that Rafal’s performance was quite different from the recorded ones.
For recording, he played the works meticulously, giving sensitivity to all shades of each of Preludes; for live performance, I felt he had more of a macro viewpoint, giving priority to entire flow of music and played them all quite dynamically.
He was a kind of too excited into the second half of Preludes.
However, my personal feelings are that I cannot stay away from his enthusiastic live performance and quietly hope that he will record live version of Preludes in the future.
I am asking to myself which version is his choice now if he is given another chance of recording Preludes?

The moment Rafał finished the 24th Prelude of op-28, the whole audience rose to their feet to give him a big applause.
This scene was not witnessed in Munich hall last year when Japanese fans including myself attended Rafal’s recital.
Rafał rewarded the affectionate audience with Chopin’s waltz op-64-2 (his favorite).
The warm enthusiasm of the people prompted him to play another encore, Mazurka op-56-3, putting an end on the performance gently and settling down people’s excitement.
(Reviewed by Mr.A.K., a long standing fan of Blechacz. Has attended Chopin International Piano Competition in Warsaw since 1990. Has a discerning musical ear, especially the ear of piano music.)

------------


(Comment #2)
“The purpose of the concert is to give joy and freshness.”(From the site of 2008 Italian Tour)

“There shouldn't be too many concerts. …to show something new every now and again.
This takes time and preparation. "
(From the site of Dutch Radio which broadcast Concertgebouw Recital of 7.10.2007)


While listening to the recitals in Vancouver, San Jose and Prague on June 4, I often remembered these words.

The hall in Prague had a lot of sound reflection and it was not helpful for swift passage of Mozart. (my personal impression)

Also, the opening remarks by the sponsor were too long. I was wondering if it may distract Rafał’s concentration for starting the performance.

What I saw was that Rafał was making every effort to overcome inconveniences in a given environment.
Szymanowski was not perfect compared to North America, but profoundly moving.

After the break, Japanese Fan Club members were seated in the first floor.
(I was in the first raw with some of my friends.) We were able to feel closer to Rafał’s heart.
We tried to send encouraging energy to Rafał.

The standing ovation was the evidence that the music he created that night deeply moved the people in the hall.
I was extremely happy to be a part of the audience.
The recital was very very good.

Dzienkuje!(Thank you) Rafał.
We are proud of you.
(By Akiko, author of this site. Also loves orchestra music conducted by Jansons, Alan Gilbert and Norrington. )
------------------

(Comment #3)
In the first half, I was on the balcony. I felt the sound traveled too much in the hall.
In the second half, I was seated in the middle of the first floor, and felt that the atmosphere of the historic hall exactly fits well with Blechacz’s musicality.
I foresee, therefore, that Blechacz is going to have to make his music appealing to the audiences in distinguished, first-rate halls around the world.
So my view about the hall is different from Akiko.

But we are united in that we will continue to support Blechacz full-heartedly as he is going to reach the top of pianist world.
I was fascinated by Rafal’s personality.
I sincerely hope that I will see him again. Thank you!
(By Ms.Y.T, a piano teacher. Has visited many prestigious concert halls around the world.)

Jun 18, 2008

Review on Blechacz Recital in Prague

This is machine-translated review of Rafal Blechacz's Recital in Prague on June 4, 2008.
(The original language is of course Czech.)

Because it was done by machine, it is not perfect translation, but I beleive that you can get impression that his performance was well accepted and his talent was highly evaluated.

The author also tried machine translation into Japanese. The same idea was obtained. (Albeit it is not shown here.)

Jun 16, 2008

A Japanese fan talks about Blechacz's personality

Sachiko is a young Japanese female and one of the enthusiasts of Rafał Blechacz.
In June 2008, she joined the tour to see Blechacz's recital in Prague and visit his home town Nakło nad Notecią, Poland.
She wrote about how she felt about Blechacz's personality during the tour.

To understand what she wrote, the itinerary was as follows.

June 2 Arrive in Prague
June 4 19:00-21:00 Rafał Blechacz Recital in Prague
June 4 21:00-midnight Reception organized by the sponsor

June 5 Meet with Blechacz and his family at Chopin Manor in Duszniki, southernmost town of Poland close to the boader with the Czech Republic

June 6 Visit Nakło nad Notecią, Poland (Went to the secondary school Blechacz graduated, his parish church and his home. To welcome the Japanese fans, Blechacz played the organ in the church and piano at his home.)

June 7 Transferred to Warsaw
June 8 Left Warsaw for Japan



-------
In retrospect, the days I spent with Rafał Blechacz were over all too soon.
However, each of the days in that week was really substantial.
All that I experienced there could not happen otherwise.

First, let me say that the all family members of Rafał Blechacz are kind and caring.

After playing at the recital in Prague, Blechacz and his family participated in the reception organized by the sponsor.
They were at the reception venue until 2:00 a.m.
Then Blechacz and his family drove the family car to return from Prague to Nakło via Duszniki.

In Duszniki, the Japanese fans visited the Chopin Manor and met Blechacz and his family.

(This is the place where Chopin Piano Festival has been held every summer since 1946,
in commemoration of the episode that Chopin stayed there for recovering health,
and held charity concerts for local orphans.
Blechacz had joined the Chopin Festival several times.
Blechacz showed us around the facilities of the Manor and played the piano in the concert hall there.)


Photos of Duszniki Chopin Festivals in previous years @Chopin Manor



It took three to four hours from Prague to Duszniki and seven to eight hours from Duszniki to Nakło.

Actually, the Japanese fans arrived at the hotel in Bydgoszcz (we stayed there because there is no hotels in Nakło) after midnight.
I believe that the Blechacz family were very tired after driving so long hours.

Still, in order to welcome us, the Blechacz family made a thorough and meticulous preparation
and all of them were very caring, without showing any sign of being tired.

They often said "Thank you" to us.
I cannot forget his mother showed her gratitude by saying "Arigato-gozaimashita (thank you very much in Japanese)"
to each of the Japanese she talked with.


If I talk about Rafał Blechacz, of course he is one of the most distinguished pianists in the world,
and still his attitude when talking with us is nothing but natural and nice.
He might have kept on his toes, but did not let us feel so.
I think he can behave like this because he is confident of himself;
being sure of himself helps him perform music in so solid a manner.

Furthermore, he has learned English well although he is very busy,
and now spends some of his time to learn philosophy and German!


Makig your talent blossomed requires efforts.
If there is a will, there is a way to make efforts. It is true for everyone.
But I felt Rafał is different in that he listens to the person talking to him very carefully;
he never loses any detail that ordinary people may not pay attention.

Rafał and I are of the same generation (I am one year older than Rafał, exactly speaking!),
but it came home to me that I lack something that he has; I have not achieved something in my life;
but I first should have the will to try to achieve something.
I felt that I should learn from him and try to grow further in order to have confidence in myself.
Language is a tool for communication. So it dose not make sense if you do not have what you want to communicate.
I renewed my determination to make my own efforts!


Rafał is superb! Still sometimes he looked exactly his years;
I cannot find a way to describe it right, but there were times that I felt that he looks like, say, some of my classmates in Japan.
Because he is young, I am looking forward to seeing him growing further, transforming himself, to become a further great musician.


The trip helped me understand that Nakło is very far from Japan.
I mean when he tours in Japan, he needs to come all the way from the town in Poland to Japan.
The Japanese fans should know that it is a very precious opportunity for us to be able to attend his concert.
I feel I can go to any city in Japan easily to attend his concert compared to the difficulty that he goes through to come to Japan.
I determined to further appreciate his concerts and bring my relatives and friends there.
It is what I can do to reward to Rafał Blechacz, his family and his people for their warm hospitality extended to us.


I also would like to thank the participants of the tour for their kindness.
It is surprising that I did not know them a week ago!
Before the tour, I was wondering if I could get along with the others.
Actually, I was able to talk a lot about Rafał, his music and classical music in general with them.
It was quite enjoyable, because usually I do not have someone to talk with about such things a lot.
I promised with them that I am seeing them again at Rafał's concerts.

Also, I would like to thank the organizer for giving us such a wonderful occasion!

---------
You can hear Blechacz's performance in 2004 Chopin Festival in Duszniki
(Mazurka op17) here.

Jun 15, 2008

A Japanese fan talks on Blechacz's personality 2

This is another impression of Rafał Blechacz's music and personality given by Ms. M.I., a young Japanese fan. She attended the recital in Prague and visited Blechacz's home town Nakło nad Notecią in June.

-----------
When encountering good music, people often say "this music is universally acceptable", in order to highly evaluate it. When listening to Rafał Blechacz's music, however, I always feel that "his music has the kindness to accept all kinds of people".

In June this year, I joined the Blechacz fan club tour and had the same feeling that he accepts every participant all the time during that week.

While staying in Nakło nad Notecią, I was impressed by how Rafał behaves openheartedly; it was often Rafał who broke the ice to talk to me and make questions to me while I was a kind of hesitant to talk to him.



In Prague recital, I noticed some unusual mistakes, but for me, the performance there was even more touching from a musical viewpoint than the nearly perfect performance that I heard in the previous recital.

The hall in Prague had longer reverberation time. When listening to Chopin Prelude op-4, harmonic overtones sounded well. I felt as if someone were singing the melody and the voice was pouring onto me from the ceiling of the hall. How exquisite and noble the sound was! I was deeply moved.

To entertain the visiting Japanese, Rafał played the organ in the parish church and the piano at home. When listening to his music, sometimes tears spilled from my eyes. I also became emotional when I heard the background story about how the representative of the fan club met Rafał for the first time a few years before and how she had originated the program to deepen friendship between Poland and Japan.

Being compassionate and considerate to other people works wonder -- this is what I felt throughout the week.

Jun 14, 2008

Blechacz's voice (audio-visual)

After the victory in 15th International Chopin Piano Competition is Warsaw,
Rafałl Blechacz was granted honorary citizenship of Nakło, his home town.

Here you can hear Polish Radio broadcast of the award giving ceremony.
English interpretation is given voice-over for Blechacz's remarks.



Polish Radio Interview on Aug.16, 2007 which took place
after Blechacz completed recording of his first CD with Deutsche Grammophon in Hamburg.
English interpretation is given voice-over for Blechacz's remarks.

Japanese translation (日本語)




Blechacz talks in English with an interviewer of French VirginMega.
The interview took place in Oct. 2007.

Please click on INTERVIEWS on the right of the page to start the interview.



Japanese translation (日本語)



Blechacz talks about how it was during the recording session in Polish.
It is the excerpt from promo event that took place in Nov.2007 in Poznan.

Outline in English
Outline in Japanese (日本語)

Jun 13, 2008

Review on Blechacz's recital in Tokyo 2007

Rafał Blechacz, 22 year-old young polish who has attracted the world's attention after winning the 2005 Chopin International Piano Competition in Warsaw, came and had recitals in Japan following 2006 Japan tour.

The program beginning with J.S.Bach: Italian Concerto F major suggests his current attitude. It was followed by F.Liszt: 3 Concert studies, C.Debussy: Estampes before the intermission.

After the intermission was Chopin program: Barcarolle, two Nocturnes op62, and 12 Preludes of op28 (Preludes 13 to 24).

Blechacz performed so wide a variety of repertoire with youthfulness and well refined technique. My impression was that his performance was full of spontaneousness by showing occasional expressions which can be described as powerful and dynamic rather than playing everything in a delicate and sensitive manner. Shades of difference in tones of each Prelude was quite intriguing, although only the second half was played.

I felt that the entire program asserts Blechacz's personality impressively. However, I wish I could understand what he tried to bring out by these four composers and their works.

I would like to follow him for the next few years from that regard.

(Reviewed by Yoshiyuki FUJITA, published in Japanese magazine "Ongaku-no-tomo (Friend of Music).
Recital on June 19 at Tokyo Opera City Hall.)

Jun 11, 2008

Blechacz's interview on Jan. 18, 2007

Blechacz toured in Poland in Jan. 2007.
Before the recitals, on Jan.18, he gave a news conference and it was broadcast on TVP 3 and Radio Bialystok.

Related story is here. (Some pictures are available.)

Following is an excerpt from that interview.



"From what my parents say, from a very young age I liked to approach our piano which stood in our house and play various melodies heard: whether from the radio, from the television, from church, Christmas carols, pastorals, hymns. And that's how it began. Later I began learning at the music school in Naklo. I had begun attempting competitions very early. At first they were only national competitions held in Poland, and overall, they always ended rather well for me. And so, I felt confident playing the piano, and as time went on, I grew increasingly convinced that I should continue to do so throughout my life. So everything was moving along steadily, happily until the Chopin Competition, which was, sort of, the most important calling of my life. And I made an effort to approach this competition, by not treating it like some final test or event that would decide whether or not I should become a pianist or not, I simply treated it as the next stage in my career, the next stage in my musical education. Of course, I made a great effort to prepare to present myself from the best possible angle. This approach created a kind of psychological calmness. I also didn't listen to any of the other competitors, so I wasn't aware of my competition. So this all helped in keeping me calm and I focused on my program and my interpretations, and well, the result appears to have been satisfactory.

I'm happy that I am able to play in beautiful places, because it has always been a dream of mine to play for a large audience all over the world, and the Chopin Competition does make that possible - it is something that makes dreams come true. Above all, it opens doors to the most prestigious concert halls around the world. I have already behind me a few important debuts in Europe, and two tour around Japan. I'm soon approaching more important debuts. So of course, winning this competition has had many benefits. I'm also very happy about the recording contract with Deutsche Grammophon consisting of three recording projects, so this too is a big deal for me.




Chopin's music has always been very close to me, and...this composer has a special place in my repertoire - especially after winning the competition. The climate of his music works for me very well, the emotions that exist within the music. The feeling of melancholy whether present in say, the nocturnes or mazurkas is very close to my heart. But of course, one must admit, Chopin's earlier works, his concerti for example contain a great youthful happiness, and were written when Chopin was a very happy person, when he was with his friends, his family, in Warsaw. I'm now a similar age to Chopin when he wrote his concerti and have the privilege to be able to play his works with various orchestra's for a large audience. This makes me extremely happy, that I can show the beauty of Chopin's music to people in a variety of places.

A large task ahead of me is the recording of my first album with solo works by Fryderyk Chopin for Deutsche Grammophon. It will most likely be released some time this autumn. So now I work mainly towards getting the works to be recorded prepared. Of course, I have a few important debuts ahead of me, amongst others, London and two tour in Germany. My dream now is that I complete these debuts successfully so that I will be invited back in the future.

I'm expanding my repertoire all the time. Of course, not only Chopin - I've thought about works by Brahms, I am practicing them, because I believe they can help me further mature. Also, I am very fond of impressionistic music, and there is a good chance that my next CD might contain works by Claude Debussy. Rachmaninoff, also, of course, I plan to prepare the Rhapsody on a Theme of Paganini.

I highly value Kristian Zimmerman. He is a pianist that fascinated me right from the beginning. His pianism, smart career decisions. His wonderful recordings for Deutsche Grammophon have fascinated me. I am happy that after the competition we have contacted each other. Presently, we have only spoken on the phone, but it is likely that soon we will be able meet up, talk about music, and work at the piano.

I have performed seven or eight times with the Warsaw Philharmony since completing the Chopin Competition. And now I am doing a tour around Poland, with the Phlharmony of Bialystok, in Lublin, Rzeszowie, Katowice, Czestochowie. I'm making an effort to compile my concert calendar so that the public of Poland also has a chance to hear me play."

The interview was held in Poland in Jan.2007.
I found the audio interview later in that year, but did not understand Polish interview.
I'm therefore very much appreciative of the person who posted it on Facebook.
The original interview (audio) is already gone from the network.



Jun 10, 2008

Blechacz debut CD review

This is a review on Rafał Blechacz's debut recording "Piano Recital" launched in 2005
before the Chopin Competition by a critic of Music Web International (UK).

It is interesting to read because it was writen before his victory in the 2005 Chopin Competition,
therefore, the critic's view is not influenced by any preconceived idea about the pianist.

Jun 9, 2008

Blechacz Preludes review

This is a link to the review of Rafał Blechacz's CD Chopin Complete Preludes from Deutsche Grammophon
by Music Web International (UK) posted soon after the lauch of the recording in Oct. 2007.

The review is unique in that the reviewer knows quite well the Chopin music
and has a views of both commentator and performer.

How he was convinced of Blechacz's exellency is very compelling.


In Poland, CD Preludes obtained Gold status
on the following day of the lauch,
and Platinum status in a few days.

Jun 7, 2008

Recital in Paris, Jan. 27, 2008

The following is a rough English translation of the review.
Please remember that the translation was done by non-native speaker to English and French.

Review on Concert at Theatre du Chatelet, Paris
01/27/2008
By Simon Corley


Jeanine Roze Production has been promoting the concept of “music brunch” since it created “the matinee concert on Sunday” 30 years ago. By combining a demanding program and the regular audience who can tell good music from bad ones, programs on Sunday has been quite successful. Rafał Blechacz is not yet known well compared to the planned performers such as Isabelle Faust, Jean-Marc Luisada, Susan Graham, le Quatuor Mosaiques, Philippe Jaroussky…, but he won second prize at the Hamamatsu International Piano Competition in 2003, and to be fair for him, with the lack of the first prize, Blechacz was on par with Alexander Kobrin in the second place. However, it was when he won the first prize of 2005 International Chopin Competition in Warsaw for the first time in 30 years as Pole since his compatriot Krystian Zimerman that his name became better known widely in the world.

Firmly keeping the music, with no impression of being overwhelmed by just emotion, the 9th sonata of Mozart (1777) intrigues the audience with deep interest rather than just drawing their attention: Beethovenian voluntarism of the Allegro (rapid, but really con spirito), song without concession to the curve during the Andante (heeling plus con espressione), preciosite and manierismo (sophistication and technique) (Rondo final).

The way he rolls out such a wide variety of atmospheres swiftly was amazing. It was as if he has a huge pallet containing his own diverse techniques and expressions and takes them out one by one in order to beat the usual expectations from music gourmets.



His approach is even more appropriate for playing a unit of small pieces like Chopin’s Preludes op 28(1839), the work that he recently had contract with DG for. He often maintains vivid tempo and avoids being depressed too much in expressing lyrical emotions (4,15and 17). This may make his song too much straight like Mozart, but he skillfully gives harmonization by decelerating at the end of work, although it may compromise simplicity of poem(7). He plays diligently and it deserves admiration. But sometimes his interpretation lets him burst emotions out as is seen in dramatic impulse of 18.

Fluency and clarity of rapid parts (3, 8, 10 and 16) but delicate sense of color (2) and beautiful profoundness of clavier (9 and 20), roaring thunder evoking Rachmaninoff (12, 14 and 22) but also miraculously exquisite touch (23): Rafał Blechacz knows how to select from his many choices. But his career has just started. I believe he is going to further explore the path and refine himself out of the rich performance.

Encores: well interpreted two pieces; Chopin Waltz op64-2 (1847) and Mazurka op17-2(1833).


*********************************

Canaliser et décanter

Paris
Théâtre du Châtelet
01/27/2008 -
Wolfgang Amadeus Mozart : Sonate pour piano n° 9, K. 284c [311]
Frédéric Chopin : Préludes, opus 28

Rafal Blechacz (piano)


En créant voici trente ans les «Concerts du dimanche matin», Jeanine Roze a imposé le concept de brunch musical: une programmation exigeante mais aussi un public fidèle et familial, de sept à soixante-dix-sept ans, font le succès de ce rendez-vous dominical au Théâtre du Châtelet. S’il est moins célèbre que bon nombre de ceux qui lui succéderont dans les prochaines semaines (Isabelle Faust, Jean-Marc Luisada, Susan Graham, le Quatuor Mosaïques, Philippe Jaroussky, …), Rafal Blechacz (vingt-deux ans), deuxième prix au Concours de Hamamatsu (2003) – ex-æquo, en l’absence de premier prix, avec Alexander Kobrin –, s’est cependant fait connaître en remportant, trente ans après son compatriote Krystian Zimerman, le premier prix au Concours Chopin de Varsovie (2005).

Très fermement tenue, ne donnant jamais l’impression de s’abandonner, sa Neuvième sonate (1777) de Mozart intrigue davantage qu’elle ne séduit: volontarisme beethovénien de l’Allegro (rapide, mais pas très con spirito), chant faisant peu de concessions à la courbe dans l’Andante (guère plus con espressione), préciosité et maniérisme (Rondo final) – les climats se succèdent et se bousculent, comme s’il puisait avec gourmandise dans l’immense palette de ses moyens techniques et expressifs pour combattre l’attendu, le prévisible.

Cette démarche convient mieux à une succession de pièces brèves telle que les vingt-quatre Préludes de l’opus 28 (1839), qu’il vient d’enregistrer pour Deutsche Grammophon. Le tempo est souvent vif, ce qui évite un alanguissement déplacé dans les effusions lyriques (Quatrième, Quinzième, Dix-septième), même si, comme dans Mozart, le chant paraît trop souvent rectiligne, seulement assoupli en fin de phrase par une tendance au ralentissement qui nuit à la simplicité du propos (Septième). Très travaillée, presque cérébrale, l’interprétation s’ouvre néanmoins parfois à des élans plus spontanés, telle l’impulsion dramatique conférée au Dix-huitième.

Volubilité et clarté des pages rapides (Troisième, Huitième, Dixième, Seizième) mais aussi sens de la couleur (Deuxième) et belle profondeur du clavier (Neuvième, Vingtième), déferlements orageux évoquant déjà Rachmaninov (Douzième, Quatorzième, Vingt-deuxième) mais aussi toucher miraculeusement impalpable (Vingt-troisième): Rafal Blechacz sait faire beaucoup de choses, mais il a désormais toute une carrière devant lui pour canaliser et décanter les richesses de son jeu.

Toujours Chopin, bien entendu, en bis, avec la Deuxième des trois Valses de l’opus 64 (1847) et la Deuxième des quatre Mazurkas de l’opus 17 (1833).

Simon Corley

Jun 5, 2008

Review on Recital in Monfalcone, Italy 2008

The following is a review on Blechacz's Recital in Monfalcone, Italy on Feb. 6, 2008.

The original Italian text is already gone from the web.
This translation is only abridgment out of concern of copywright.


The Brilliant eloquence of Rafał Blechacz

Monfalcone, Italy
Feb. 2008

22 years old Rafał Blechacz is blessed with exceptional pianistic talent----which was ascertained at the latest Chopin Piano Competition in Warsaw. I was able to feel the fact that he has an outstanding personality when he started to play the first item on the program of the recital held in Monfalcone:Mozart Sonata K311. What I saw was a compelling performance propelled by intuitive decision with geometrical accuracy and solid structure supported by enough skill. I would like to define his approach as reasonable liveliness. Each of all notes is clearly expressed. This is enhanced by his way of distributing intentionally strong accents and using his unique agogics supported by outstanding touch on each sound.

Suddenly, a different kind of personality was crystallized. Perfect transparency and distinctiveness. Sophisticated passages full of brilliance without any ambiguity. There was a step, or jump rather, to Debussy’s Estamps. The Polish pianist didn’t have any difficulty to that change. But the performance lacked flexibility although there was no fault to find with his technique and style. But I can easily predict that this young pianist will grow further by deepening study of genre of this kind.



By playing Variation Flat B minor by Karol Szymanowski, he was getting closer to his age. It was an exemplar, refined interpretation and Blechacz’s sincere virtuosity was fully demonstrated in this piece. Then his poetry for Chopin’s 24 Preludes was demonstrated in a sophisticated and impeccable manner. The music eloquently flows and clearly narrates stories which were allocated in well organized manner. Sometimes a phrase unique to the pianist is inserted before pronouncing the next syllable. Poetic string is always stretched with dramatic strain. An enthusiastic success.

Review by Dejan Bozovic