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May 9, 2009

Review on Blechacz's recital in Valencia (Spain)

Levante-emv.com posted a review on Blechacz's recital in Valencia on May 5.
Original review (Spanish)


by Alfredo Brotons Muñoz

All the vectors in the history of Western music converge into Bach or depart from him.
Among the latter, nothing is more interesting than the vector passing toward Chopin,
and as a representative of a few intermediate steps, no one is so ideal as Mozart.

This could be the sense that, with Szymanowski as a possible continuation of the journey,
the program was presented by the Polish pianist Rafał Blechacz (Nakło nad Notecią, 1985).

The winner of all the prizes in the Chopin Competition in Warsaw in 2005;
from the outset, it was clear what the maximum specialty of this young star of actual pianism is.

Indeed, beyond the discussion of the adequacy of current piano to interpret the music of Cantor of St. Thomas,
his version of Italian concerto was so busy and muscular that only the people of purism could admire the undeniable technical excellence.

In the Sonata K. 570 by Mozart, he continued something similar.
However, taking into consideration, for example, the value of the episodes of the Adagio,
continuing the above discussion may be wasteful.

Especially his highest value is the tight control of different intensities of the pulse in each hand,
with a perfect balance between melody and accompaniment.
And the closing Allegretto also almost anecdotally displayed clean legato
in comparison with the music produced by the special spicing;
with some ephemeral slowdowns he gave flavor to the phrasing of conclusive expressiveness.

Variations op. 3 by Szymanowski became somewhat disoriented
not only because of its position at the end of the first part,
but because it is a work of Chopin epigone who however looks at Brahms more.

In addition to the unitary character, there were outstanding effects in his performance; for example,
subtle stress of mazurka underlining the melancholic third,
the attractiveness of the lento dolce and cantabile in the fifth,
the felicitous contrast between the exuberant seventh and eighth the funeral,
and more importantly, the brilliant clarity of the twelfth and the final.

With these precedents, the great Chopin was expected.
Not so was the third ballad, very agitated but superficial,
or the Nocturnes op. 62; the first was phenomenal in the passage of trills but overall something boring in the tone.

On the contrary, excellent were Mazurkas op. 17 and the Polonaise op. 53,
where the abstraction of the rhythmic and melodic lines did not suffer from any interference,
and he never spared his potentiality.

The audience that nearly filled the Rodrigo was delighted.
The Scherzo of the Second Sonata of Beethoven was offered as encore.

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