Continued from yesterday,
In the interview in Netbird, one remark by Rafał Blechacz impressed me.
(Every musician has his/her own audience, and.....)
It is important, however, that the musician does not exceed a certain limit
-grał dla publiczności a nie pod publiczność.
- Blechacz would play for the audience but not to the taste of the audience.
(not to accommodate himself to the wishes of audience.)
The pianist emphasizes that he also makes it pleasure playing for himself,
away from the great concert halls.
If he has to stop concerts, though it would be difficult for him, he would bear it.
However he would never abandon contact with the piano.
In the article of Wprost24, there is a related remark.
Grywa pan pod publiczkę?
-To nie miałoby sensu.
Gdybym nie był całkowicie przekonany o celowości tego, co robię, publiczność również natychmiast by to wychwyciła.
Większość pracy nad utworem odbywa się w samotności, w domu. Ale jest we mnie wielka ochota,
aby jej efekt eksponować publicznie.
To nie jest główny cel, ale ważny.
Do you play to cater to the taste of the public?
-It would not make sense.
If I am not entirely convinced of the appropriateness of what I do, the audience also would immediately capture it.
Most of the work on pieces are done in solitude at home.
But I have a strong desire to expose its effects to the public.
This is not a main objective, but an important one.
Blechacz often says that he hears the voice from inside, for him his own intuition is very important.
Have you given up your own compositions?
- Once I wrote a few piano pieces, and even a string trio.
Today, I do not have the time to, or internal needs,
and to do something against the state of mind does not make sense. (From Gazeta Pomorska, May 2009)
-Recently in London, a girl asked me for advice, who had a dilemma whether to choose studying music, or medicine. I did not have such a dilemma, always knew that playing the piano is what I want and what I did. If anyone has such a dilemma, it should be highly questionable if music is certainly an appropriate way. Intuition is extremely important - which Zimerman also stresses. I have a perfect reason - intuition is very important in music. When refining interpretation of music, it often relies on intuition. The best example is rubato, elusive tempo in works by Chopin - that can not be explained until the end. I just feel that this should be so and not otherwise.(From Gazeta Pomorska, May 2009)
-What I try to do through music or what I value in my life is "to be natural".
In performing music work, my role is to play it as the composer wanted me to play
and to reproduce what he wanted to express today.
For me, trying to respond to his wish is natural
and to achieve that, I need to select the music that I stay natural with.
Finding a commonplace between his music and what I am
and identifying myself with what the composer left to me
would result in the naturalness that I’m supposed to achieve.
Probably I will remain the same.
For me, nothing is more important than being natural.
I want to always remain what Rafał Blechacz is.
And Rafał Blehcacz is the person who always lives his life and interprets music naturally to perform it.
I want to remain my own man. It’s my current wish.(From interview with Takaakira Aozawa (1) (2), Tokyo, February 2009)