Preludia - Unofficial website for Rafal Blechacz

Blog

Jul 31, 2009

Blechacz new CD release October 2 - Germany

ipc de site

Amazon.de

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


For Polish readers:
Blechacz's interview on Wprost24 site (Polish)

Rafał Blechacz interviewed by Jan Zawisza.
The title is "Have authority over people, it is beautiful"
Yes, it is a very beautiful interview!!


The article is provided for a charge.

If you purchase the article from outside of Poland, approximate costs are:

About 1 euro/1,5 dollar for 4 last issues/24 hours
or
About 2,5 euros/3 dollars for 4 last issues/week.

Cedit card, paypal or other ways are accepted for paying.
The buying process is simple and intuitive if you don't know Polish.
(Thanks to Alicja for the info.♪)

* Because the article is restricted, I will not post it here on this website.

Jul 30, 2009

Blechacz new CD available September 30 - Japan

Rafał Blechacz new CD "Chopin The Piano Concertos" (Import edition from Europe)
will be available in Japan on September 30.
出荷日は予約時期によって変動するそうです。

HMV Japan site ←Book now and the CD will be delivered on September 30.

Related news from HMV (Japanese)


Tower Record Japan ←Book now and the CD will be delivered on October 9.



"Blechacz’s way of Chopin Concertos nos. 1 & 2, live!
with Concertgebouw Orchestra under Semkow


- Young virtuoso Rafał Blechacz exerts his fresh sensitivity to render supreme melodious beauty.

Heralding Chopin’s 200th birthday in 2010, Rafał Blechacz, the winner of 2005 Chopin International Piano Competition, young master often reputed as the reincarnation of Fryderyk Chopin
has recorded two piano concertos by Chopin collaborating with the Royal Concertgebouw Orchestra
under the baton of Polish veteran Jerzy Semkow.
It is the first part of our series for the commemorable year.

The young, sparkling sense with full-hearted devotion
gets to the heart of the extremely exquisite and lyrical concertos by Chopin,
giving us a once-in-a-lifetime experience of the live performance.
(Commented by Universal Music, IMS)"


↑ Note: Universal Music Japan has not yet announced the release.



Delivery dates announced in these sites are subject to change.

So far, there is no news about the launch date of Japanese domestic edition.




See Deutsche Grammophon site

Jul 29, 2009

Blechacz interview broadcast Aug.9 (Spain)

Interview with Rafał Blechacz will be broadcast by Catalunya Música , a radio station in Spain
at 23:00 - 00:00 on Sunday August 9, 2009 (CEST).

Program description (Catalan)

Program site "Solistes" (Catalan)






"Blechacz was in Barcelona in April to give a recital at Palau de la Música
and Joan Vives took advantage of his visit to discuss with him extensively.

You will understand personality of Blechacz and his interpretations in depth,
especially of music of Chopin", the program page says.

In the interview, Catalan translator's voice will be placed over the original voice of Blechacz,
but I expect Blechacz's voice to be heard partially,
as was the case in the previous program in January this year.

To listen to the program, please click on "En Antena"(at the top-left of the page) → "Catalunya Música".

If you miss the program on Aug.9, it will be stored in the archive of program site "Solistes"
at "Escolta-ho".


Review on Blechacz's recital in Barcelona 1
Review on Blechacz's recital in Barcelona 2

Jul 27, 2009

Where's Rafal Blechacz? - Archive of Duszniki

From the website of Duszniki Chopin Festival.

Search for Rafał!

How many pictures of Rafał Blechacz did you find?
I found six (including the one of his audience.)

He had a recital for Duszniki Chopin Festival in 2004 and 2006.

Program of 2004
Program of 2006
Article of 2006 recital.


Jul 25, 2009

Sincere, straight from heart - Blechacz and Chopin

Rafał Blechacz gave interview to RMF Classic, talking of his recording of the new CD in Amsterdam early July.

RMF Classic site (Polish)

--------------------------------------------------------------
Rafał Blechacz
I stand on the naturalness in life and music.
I recorded these concertos so that they were sincere, flowing straight from my heart ...


Another hard working summer by the outstanding Polish pianist. Rafał Blechacz has just recorded in Amsterdam the third album for Deutsche Grammophon, for which there will be concertos of Chopin. About the backstage of recording session, Chopin and concert plans, Magda Miśka discussed with the artist.


-In early July you played at Amsterdam Concertgebouw, one of the world's most famous concert halls. Are performances in such places particularly important to you?

Of course, they are important. I was lucky, because the concert was recorded by Deutsche Grammophon. I played there for the fourth time, and for the second time with the Concertgebouw Orchestra, which was great experience for me. Every time I feel happy when appearing for the local audience.


-Are they straightforward audiece or rather reserved in expressing explicit emotions?

The audience is very enthusiastic, but at the same time very sophisticated and well versed. The repertoire presented in this hall is very wide, the great artists have played there. I am happy that I was again rewarded by such an audience.


-They rewarded you with standing ovations.

The audience remembered me from the previous year prior to this concert, when I performed Piano Concerto in G minor by Camille Saint-Saëns. They also received Chopin very well. The standing ovation occurred after the first part, namely the piano Concerto in F minor. I felt great joy and fun observing the orchestra musicians when they were delivering the play of our folk song fragments. For them it was a great experience.


-The hall is famous for its excellent acoustics. Did you confirm this?

Yes. Acoustics is also great during rehearsals, when the pieces are recorded without the audience, and when people are seated and the sound was delivered to them.


-Did you feel the spirit of this place? Masters played there.

Such an atmosphere is always felt in halls where history stands. Its charm per se tunes my feeling and helps me playing or finding  beautiful interpretations. Therefore, it is important to record in such places.


-You remained in Amsterdam after the concert to record your latest album in Concertgebouw. This is the next album, which you worked in the summer. Is this the case?

A bit, yes. I have a summer break from the concerts, because the artistic season usually ends in mid-June. The orchestra was also during this time free, so it was possible to organize a recording session in the first week of July. I like summer. It connects me with works towards new repertoire.





-The album will include both of the Chopin concertos. Is this the necessary milestone for you like "a dot over i"?

The artist's duty is to seek continuous exploration and improvement. Surely this is another step related to Chopin. Over the past years after the Chopin Competition, I had the opportunity to play his pieces with various orchestras and conductors, which had an impact on the interpretation. Now of the most importance was how best we could do to prepare for this project. We chose the orchestra with whom I feel comfortable. It was important for me, and for Deutsche Grammophon.


-And how have you changed the approach to the music of Chopin from the time of competition?

It is hard to say. This is probably a natural process of artistic maturation. Presenting  specific pieces for different scenes makes a piece crystallized with fingers and also by heart and mind. There are no major changes. I have never been a supporter of controversial ideas of interpretation. I always put on the naturalness in life and music. I recorded these concertos so that they were sincere, flowing straight from my heart. I look for emotions, which may be accompanied by Fryderyk Chopin. I wanted to penetrate these emotions and show them through the prism of  experiences.


-Are these concertos most important pieces for you among Chopin’s music?

Not the most important. All of his works are very rich, but if you take down all the pieces, the time of their execution does not exceed 20, may be 22 hours. However, all are absolutely beautiful music. Chopin's concertos are valuable when it comes to performing with orchestra. When talking with Deutsche Grammophon to think about Chopin project, the idea of the Chopin concertos came up to us.  We wanted to emphasize the year 2010. I have them in my repertoire for relatively long time and therefore I decided to record them. It seems to me that the recording of music, which is supported by stage experience, it makes sense. You can then search for a various details and penetrate into the depth of interpretation.


-Even a few months ago you said that the orchestra you are going to do the recording of new album with  will be a surprise, but that they are the best musicians. How was collaboration with the Concertgebouw Orchestra negotiated?

I encountered with the orchestra first a year ago and even then I thought that this is a dream team of concertos by Chopin. It deeply fascinated me with their velvet color and precious, unique and sublime sound.
Characteristic of this orchestra is beautiful strings, but of course wind instruments deserve praise. When we recorded the  first part, all these small solo parts by bassoon, flute and French horn were real young masterpieces. Playing with these musicians and listening to recorded fragments already brought me a great pleasure.


-How were the members?

Very warm. At the first session - June 30, so on my birthday - the orchestra welcomed me with a triumphal fanfare.  There are a lot of young musicians. They drew the joy of playing with the Polish rhythms such as Mazurka in F minor concerto. They are very elastic and sensed all my intention. Relationship between soloist, conductor and orchestra is very important.




-Could you please tell me a little background? How did the recording sessions look like?

I was already in the Concertgebouw at 8 in the morning, sometimes even sooner. The session began at 10 am. First, the piano was prepared. Already a few days before the start of recordings I had the opportunity to talk with the tuner. I have good contact with him and he was able to appropriately prepare the piano for  each of the works in a way that I wished.


-How was the piano?

Concert grand piano of Steinway brand. I met a very wonderful piano and every time I play it in Amsterdam. It is almost four years, a very beautiful piano.


-Let us return to the session ...

We started from a concerto in E minor, then the Concerto in F minor. There was 25-minute break, and the whole session lasted about three and a half hours. Such a session, we had six, counting the dress rehearsal before the concert and the recorded concert. This is quite a long time, so we were able to do experiments without pressure. I remember the famous recitative of the second part of the F-minor, recorded in three versions. Each is a little different. It was the maestro Jerzy Semkow's idea to record the various versions and choose the one that best suits us.


-What have you learned from the years of cooperation with Deutsche Grammophon?

It is important to have control over the entire recording process. After returning to Poland I maintained a distance to what was recorded. Then I went to Hamburg to hear the material and choose the best (in '07 & '08). Also significant was the conversation with the people from Deutsche Grammophon about our projects and repertoire. They know the market very well German, French markets, and preferences by the public. Selecting such a conductor and the team with which I feel good was significant.


-Did you find some time to enjoy Amsterdam?

This time no, but I did some time years before. This is actually a very nice city with lots of museums. This time, unfortunately, there was not time. After finite sessions I returned to the piano and practiced. I worked on the sound, talked with the tuner and also made questions about parts which were recorded in the morning. However, my entire family enjoyed the charm of Amsterdam, because I went there with my parents and sister.


-Chopin year is coming and Chopin will be present throughout the world in many commercial forms - tales of Chopin, Chopin films… Do you like them?

Why not? If such methods can reach out to people who have nothing to do with music in daily lives, it is a good idea.


-Premiere of CD: Sept. 18. What are your further plans?

The year 2010 will be intense when it comes to concerts. I plan a series of performances in Europe, but I have serious plans to tour in the U.S. and Japan. I wanted to record a CD later in 2009, so that in the year 2010 I entirely devote myself to the concert activities.


-Thank you for your time.



Sincere, straight from heart - Blechacz and Chopin

Rafał Blechacz gave interview to RMF Classic, talking of his recording of the new CD in Amsterdam early July.

RMF Classic site (Polish)

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

Rafał Blechacz 
I stand on the naturalness in life and music.
I recorded these concertos so that they were sincere, flowing straight from my heart ...


Another hard working summer by the outstanding Polish pianist. Rafał Blechacz has just recorded in Amsterdam the third album for Deutsche Grammophon, for which there will be concertos of Chopin. About the backstage of recording session, Chopin and concert plans, Magda Miśka discussed with the artist.




-In early July you played at Amsterdam Concertgebouw, one of the world's most famous concert halls. Are performances in such places particularly important to you?

Of course, they are important. I was lucky, because the concert was recorded by Deutsche Grammophon. I played there for the fourth time, and for the second time with the Concertgebouw Orchestra, which was great experience for me. Every time I feel happy when appearing for the local audience.


-Are they straightforward audiece or rather reserved in expressing explicit emotions?

The audience is very enthusiastic, but at the same time very sophisticated and well versed. The repertoire presented in this hall is very wide, the great artists have played there. I am happy that I was again rewarded by such an audience.


-They rewarded you with standing ovations.

The audience remembered me from the previous year prior to this concert, when I performed Piano Concerto in G minor by Camille Saint-Saëns. They also received Chopin very well. The standing ovation occurred after the first part, namely the piano Concerto in F minor. I felt great joy and fun observing the orchestra musicians when they were delivering the play of our folk song fragments. For them it was a great experience.


-The hall is famous for its excellent acoustics. Did you confirm this?

Yes. Acoustics is also great during rehearsals, when the pieces are recorded without the audience, and when people are seated and the sound was delivered to them.


-Did you feel the spirit of this place? Masters played there.

Such an atmosphere is always felt in halls where history stands. Its charm per se tunes my feeling and helps me playing or finding  beautiful interpretations. Therefore, it is important to record in such places.


-You remained in Amsterdam after the concert to record your latest album in Concertgebouw. This is the next album, which you worked in the summer. Is this the case?

A bit, yes. I have a summer break from the concerts, because the artistic season usually ends in mid-June. The orchestra was also during this time free, so it was possible to organize a recording session in the first week of July. I like summer. It connects me with works towards new repertoire.





-The album will include both of the Chopin concertos. Is this the necessary milestone for you like "a dot over i"?

The artist's duty is to seek continuous exploration and improvement. Surely this is another step related to Chopin. Over the past years after the Chopin Competition, I had the opportunity to play his pieces with various orchestras and conductors, which had an impact on the interpretation. Now of the most importance was how best we could do to prepare for this project. We chose the orchestra with whom I feel comfortable. It was important for me, and for Deutsche Grammophon.


-And how have you changed the approach to the music of Chopin from the time of competition?

It is hard to say. This is probably a natural process of artistic maturation. Presenting  specific pieces for different scenes makes a piece crystallized with fingers and also by heart and mind. There are no major changes. I have never been a supporter of controversial ideas of interpretation. I always put on the naturalness in life and music. I recorded these concertos so that they were sincere, flowing straight from my heart. I look for emotions, which may be accompanied by Fryderyk Chopin. I wanted to penetrate these emotions and show them through the prism of  experiences.


-Are these concertos most important pieces for you among Chopin’s music?

Not the most important. All of his works are very rich, but if you take down all the pieces, the time of their execution does not exceed 20, may be 22 hours. However, all are absolutely beautiful music. Chopin's concertos are valuable when it comes to performing with orchestra. When talking with Deutsche Grammophon to think about Chopin project, the idea of the Chopin concertos came up to us.  We wanted to emphasize the year 2010. I have them in my repertoire for relatively long time and therefore I decided to record them. It seems to me that the recording of music, which is supported by stage experience, it makes sense. You can then search for a various details and penetrate into the depth of interpretation.


-Even a few months ago you said that the orchestra you are going to do the recording of new album with  will be a surprise, but that they are the best musicians. How was collaboration with the Concertgebouw Orchestra negotiated?

I encountered with the orchestra first a year ago and even then I thought that this is a dream team of concertos by Chopin. It deeply fascinated me with their velvet color and precious, unique and sublime sound.
Characteristic of this orchestra is beautiful strings, but of course wind instruments deserve praise. When we recorded the  first part, all these small solo parts by bassoon, flute and French horn were real young masterpieces. Playing with these musicians and listening to recorded fragments already brought me a great pleasure.


-How were the members?

Very warm. At the first session - June 30, so on my birthday - the orchestra welcomed me with a triumphal fanfare.  There are a lot of young musicians. They drew the joy of playing with the Polish rhythms such as Mazurka in F minor concerto. They are very elastic and sensed all my intention. Relationship between soloist, conductor and orchestra is very important.




-Could you please tell me a little background? How did the recording sessions look like?

I was already in the Concertgebouw at 8 in the morning, sometimes even sooner. The session began at 10 am. First, the piano was prepared. Already a few days before the start of recordings I had the opportunity to talk with the tuner. I have good contact with him and he was able to appropriately prepare the piano for  each of the works in a way that I wished.


-How was the piano?

Concert grand piano of Steinway brand. I met a very wonderful piano and every time I play it in Amsterdam. It is almost four years, a very beautiful piano.


-Let us return to the session ...

We started from a concerto in E minor, then the Concerto in F minor. There was 25-minute break, and the whole session lasted about three and a half hours. Such a session, we had six, counting the dress rehearsal before the concert and the recorded concert. This is quite a long time, so we were able to do experiments without pressure. I remember the famous recitative of the second part of the F-minor, recorded in three versions. Each is a little different. It was the maestro Jerzy Semkow's idea to record the various versions and choose the one that best suits us.


-What have you learned from the years of cooperation with Deutsche Grammophon?

It is important to have control over the entire recording process. After returning to Poland I maintained a distance to what was recorded. Then I went to Hamburg to hear the material and choose the best (in '07 & '08). Also significant was the conversation with the people from Deutsche Grammophon about our projects and repertoire. They know the market very well German, French markets, and preferences by the public. Selecting such a conductor and the team with which I feel good was significant.


-Did you find some time to enjoy Amsterdam?

This time no, but I did some time years before. This is actually a very nice city with lots of museums. This time, unfortunately, there was not time. After finite sessions I returned to the piano and practiced. I worked on the sound, talked with the tuner and also made questions about parts which were recorded in the morning. However, my entire family enjoyed the charm of Amsterdam, because I went there with my parents and sister.


-Chopin year is coming and Chopin will be present throughout the world in many commercial forms - tales of Chopin, Chopin films… Do you like them?

Why not? If such methods can reach out to people who have nothing to do with music in daily lives, it is a good idea.


-Premiere of CD: Sept. 18. What are your further plans?

The year 2010 will be intense when it comes to concerts. I plan a series of performances in Europe, but I have serious plans to tour in the U.S. and Japan. I wanted to record a CD later in 2009, so that in the year 2010 I entirely devote myself to the concert activities.


-Thank you for your time.



Jul 24, 2009

"Revelation" - Blechacz debut at Verbier 2006

From my archive:
Three years ago, on July 22, 2006, Rafał Blechacz performed in Verbier Festival.
It was not on his original schedule and he had to play there with a very short notice.

The following is a review written by Julian Sykes and posted on the website of Le Temps.
Sykes admires Blechacz's advent as a "sensation".

The noble elegance of Rafał Blechacz

"Revelation!” some shouted. “He’s got everything before him,” others spoke in admiration. On Saturday, in Salle Médran (it was raining that evening), a Pole, Rafał Blechacz, caused a sensation by his unexpected performance instead of Lang Lang.

It seems that we have gained by this exchange. As opposed to the Chinese star, this young man, modest, elegant and slightly too serious, does not show exaggerated manners. A year ago he won the Chopin Competition in Warsaw.

Rafał Blechacz has nothing of an adept imitator. He finds Chopin’s music very congruous with his personality. As it was the case with Krystian Zimerman, he creates a natural unity with this music. His way of leading the line, noble phrasing as well as the ability to lead the melody till the end yet without ingratiation set him apart. One is bewitched by Barcarole’s width of breath as well as rubato as second nature.

One may prefer Chopin’s music in an even more concise version (Pollini in his last recordings of Nocturnes) but Rafał Blechacz shows such an intuitive rendition that we are continuously enchanted. In a playful Mazurka Op. 17 No. 1, nostalgic Mazurka Op. 17 No. 4, Polonaise in A-flat major Op. 53 that wins audience’s hearts the 21-year-old pianist shows various possibilities, and Deutsche Grammophon offered him a lucrative five-year contract—the first CD will come out next year.

He, however, is to be blamed for being too slick and wise in the Sonata in E flat major Hob. XVI: 52, which opened the evening. Haydn requires far more daring. And in the Sonata in A major Op 2 no. 2 Beethoven, it must be waited until "rondo" final for Rafał Blechacz to unbutton and ignite.


Original review (French)
The site requests you to register, so I'll copy the review as below.


L'élégance racée de Rafal Blechacz

«Une révélation!», criaient les uns. «Il a tout pour lui», s'émerveillaient les autres. Samedi à la salle Médran (il pleuvait ce soir-là), le Polonais Rafal Blechacz a fait sensation en remplaçant Lang Lang au pied levé.

Il se peut qu'on ait gagné au change. Car, contrairement à la vedette chinoise, ce jeune homme sobre et élégant, un rien austère, ne se répand pas en tics et en manières. Il y a un an, il remportait le Concours Chopin de Varsovie.

Si l'on se méfie des bêtes à concours, Rafal Blechacz n'a rien d'un singe savant. Chopin lui va comme un gant. A l'instar d'un Krystian Zimerman, cette musique coule en lui avec un naturel confondant. La conduite de la ligne, la noblesse du phrasé, la capacité à mener au bout une mélodie sans minauderie le sortent du lot. La respiration, large, le «rubato» comme une seconde nature, séduisent dans la Barcarolle.

On peut préférer son Chopin plus resserré, moins étiré (Pollini dans son récent enregistrement des Nocturnes), mais Rafal Blechacz fait preuve d'une telle connivence avec ce langage qu'on est sans cesse sous le charme. Tour à tour espiègle (Mazurka opus 17 no. 1), nostalgique (Mazurka opus 17 no. 4), conquérant (Polonaise en ut majeur opus 53), le pianiste de 21 ans possède de nombreuses cordes à son arc. Du reste Deutsche Grammophon lui a offert un contrat en or pour cinq ans - le premier CD sortira l'an prochain.

Publicité
On lui reprochera toutefois d'avoir été trop lisse et sage dans la Sonate en mi bémol majeur Hob. XVI: 52 qui ouvrait la soirée. Haydn réclame autrement plus d'audace. Et dans la Sonate en la majeur opus 2 no. 2 de Beethoven, il a fallu attendre le «rondo» final pour que Rafal Blechacz se déboutonne et s'enflamme.

---------------------------------------------------------
Julian Sykes wrote another review to cover the initial few days of the program of 2006 Verbier.
At the beginning of the review, Sykes summarizes by asserting:

"The Verbier Festival & Academy has resumed more magnificently this weekend. Violinist Hilary Hahn has disappointed Friday. In contrast, the Polish pianist Rafał Blechacz caused a sensation, replacing Lang Lang at short notice on Saturday evening".

Original review (French)




---------------------------------------------------------
Rafał Blechacz talked about this experience in an interview published in Maestro (Polish) in 2006.

(interviewer)
It appears that Deutsche Grammophon has already taken some of your career because recently you were invited to the famous festival in Verbier, Switzerland?

(Blechacz)
This is an interesting story. I was just returning from performance in Dortmund and in Ruhr Valley, where I got the phone to replace Lang Lang (Note: one of the greatest and most concertante pianists in the world today), who was sick and had to cancel his part of concerts. The label asked if I would play instead of him. And I played. I had a day for a quick decision. In the first part of the recital I played sonatas by Haydon and Beethoven and in the second - the works of Chopin. I think they liked it because after the recital I got an invitation for the next festival.

(interviewer)
This festival is famous for its classical stars - joined in the circle of music aristocracy.


(
Blechacz)
Certainly. In Switzerland a lot of artists were associated with Deutsche Grammophon. At the inauguration violinist Hilary Hahn played - I had the opportunity to know her, and she came to my concert. Also the great cellist Mischa Maisky appeared whom I like very much. I recently played the two Chopin concertos with the Sinfonia Varsovia near Marseilles, France. There such outstanding artists as Grigory Sokołów or Lang Lang performed
. (← Aug. 2, 2006 @ La Roque d'Anthéron festival)

↓The same part of the interview in Polish.


Zdaje się, że Deutsche Grammophon już zajęło się twoją karierą, bo niedawno zaprosiło cię na słynny festiwal w Verbier, w Szwajcarii?

To ciekawa historia. Wracałem właśnie z występów w Dortmundzie, w Zagłębiu Ruhry, gdy dostałem telefon, by zastąpić Lang Langa (jeden z najwybitniejszych i najczęściej koncertujących dziś pianistów na świecie – przyp. red.), który się rozchorował i musiał odwołać część koncertów. Wytwórnia zapytała, czy bym nie zagrał zamiast niego. No i zagrałem. Miałem dzień na szybką decyzję. W pierwszej części recitalu wykonałem sonaty Haydna i Beethovena, a w drugiej - utwory Chopina. Chyba się spodobałem, bo po występie dostałem zaproszenie na następny festiwal.

Ten festiwal słynie z klasycznych gwiazd. Wstąpiłeś w środowisko muzycznej arystokracji.

No, rzeczywiście. W Szwajcarii było sporo artystów, związanych z Deutsche Grammophone. Na inauguracji grała skrzypaczka Hilary Hahn - miałem okazję ją poznać, była na moim koncercie. Występował też wielki wiolonczelista Mischa Maisky, którego bardzo lubię. Niedawno grałem we Francji z Sinfonią Varsovią niedaleko Marsylii, dwa koncerty Chopina. Występowali tam tacy wybitni artyści, jak Grigorij Sokołow, czy Lang Lang.

**
As he says in the interview, Rafał Blechacz appeared in Verbier again in 2008.

Jul 21, 2009

Devine Blechacz became Chopin- review on Blechacz's playing Chopin Concertos at Concertgebouw (Holland)

Review on Rafał Blechacz's Chopin concertos with RCO on July 2, 2009.

Jan, a Blechacz music lover in Holland found the review, sent me the link
with his English translation and picture of the newspaper.
According to Jan, the review was on the website of the greatest newspaper specially for Amsterdam:
"Het Parool".



I'm very pleased to have Jan's warm support and more than happy when reading this review.
Erik Voermans, the reviewer, describes Blechacz's play "like a God".

My sincere appreciation to Jan.



Het Parool website (Dutch)
Please enter "Blechacz" and the first article from the list is the relevant review.


Another review published by Dutch media.
Review by Trouw
Review by NRC.

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

Art, Friday July 3th 2009


Divinely playing Blechacz becomes Chopin


Klassiek Robeco Zomerconcerten.

Royal Concertgebouw Orchestra conductor Jerzy Semkow. Soloist Rafał Blechacz (piano)
Works of Mozart Chopin. Heard: 2 July, Concertgebouw.


The Pole Rafał Blechacz was 20 years old when he won in 2005 at the Chopin Competition in Warsaw all the awards to be won. The jury found him so much better than the other competitors, that it was decided not to reward the second price. In the history of this highly rewarded  piano competition of every five years this was never the case, even not in 1975, when Blechacz’ compatriot Krystian Zimerman earned the first price. Zimerman was 19 years old at that time: every man may meet his match  (in Dutch: boss above boss)


The winner of this competition in Warsaw has a very good change for a splendid career. Like Zimerman, and also Martha Argerich, Maurizio Pollini, Bella Davidovich, Garrich Ohlsson and not so long ago Yundi Li. Don’t think about Dang Thai Son and Yakov Zak, from whom nobody heard anymore after their victory in Warsaw. In spite of not coming in the final and you can become world famous, like Ivo Pogorelich did.


Blechacz played already at important podiums, like in the Concertgebouw in the Serie Meesterpianisten in 2007. The year after he played for the first time with the best orchestra in the world, the RCO and yesterday he was a guest again.


The 80 years old Polish conductor Jerzy Semkow, an assistant to the great Mravinski in the fifties in Russia, made his debut with the RCO. This could be a record.
When you hear Jerzy Semkow in action you can conclude: man can also wait to long to make ones debut. But it was not about Semkow. It was about Blechacz, or if you wish the Polish character of the two piano concertos of Chopin in the program.
It may be even the question if Semkow had an additional value (let us not be too rude)
because Blechacz played like a God.





Those who attended Lang Lang playing  the second piano concert with the RCO some months earlier and now was confronted with Blechacz, can come to the only conclusion possible:
Lang Lang was playing he played Chopin, Blechacz became Chopin.


Technique, the outmost refinements in the touches, the incredibly virtuoso passage play, 
we do not even need to mention.
These speak for themselves.
It was all musicality.
His rubato, the soul of Chopin’s music, was absolutely unique.



It was a Chopin of an extraordinary beauty, in the Zomerconcerten between other things: the RCO played also Carmen at the Royal Dutch Opera during these days. */
We do not take in account the mismatch in the program: ouvertures from Mozart followed by a pianaoconcerto.

Erik Voermans

© Het Parool


*/note Jan: and made the recoding for DG


Jul 20, 2009

Blechacz new CD October 12 -U.K.

Rafał Blechacz's new CD "Chopin The Piano Concertos (Chopin Piano Concerti)" release in U.K. will be October 12.

Play.com (UK)

HMV.com (UK)



See DG site.

Have a nice holiday!




Drogi Rafale,
życzymy Tobie i Twojej Rodzinie
wspaniałych wakacji,
prawdziwego wypoczynku
i samych słonecznych dni
a na ten okres
"zakluczamy" fortepian.
Sympatycy Twojej sztuki.


Dear Rafał,
We wish you and your family
a wonderful vacation,
true rest
and sunny days.
And during this time we " lock up" the piano.
Sympathizers of your art.



When Rafał was a small child, he and his family visited his uncle in Toruń
and the uncle locked the piano for Rafał to take a rest for a moment.


(Picture and words of wishes prepared by Dana Thanks a lot! )

Jul 15, 2009

Blechacz's interview with Adam Rozlach, Polish Radio, about Chopin's CD, future plans etc...(Poland)

The interview that Rafał Blechacz gave to Polish Radio 1, which was broadcast on July 12.

At initial part of the interview, Rafał Blechacz talks about his recent recording of two piano concertos by Chopin collaborating with Royal Concertgebouw Orchestra directed by Maestro Jerzy Semkow.
He admires the "silky sound" of RCO and expressed his pleasure to play with them.

The summarized English excerpt has been provided by Dana, one of those music lovers who truly appreciate the beauty of playing by the young master.

My heartfelt thanks go to Dana for the big contribution.

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

Listen to the interview.

AR: Adam Rozlach, interviewer
RB: Rafał Blechacz


AR. Today in our program "Galeria Muzyków Polskich" (Gallery of Polish Musicians) Rafał Blechacz, a pianist, who successively conquers concert halls all over the world, enchants everybody with his piano, his naturalness, musicality and warmth not only in his interpretations of Chopin. I welcome you, dear Rafał very warmly in the name of our listeners. Good evening.

RB. Good evening.

AR. A short time, but full of music in spite of holiday period.

RB. For the past three years I’ve played for festivals or recordings during holidays. By a strange set of circumstances I recorded all my CD's in July. The first week of July I recorded two concertos by Chopin in Amsterdam and played them in public last Thursday. But now I will have some time for rest and even short holidays.
The idea of recording the both concertos appeared in DG very early, even before "Preludia". For me and DG it was very important to realize this idea and record those concertos with an orchestra and a conductor with whom I would feel comfortable and understand. I have played for about four years with different orchestras and conductors and have observed them attentively, how they feel and play Chopin's music. I am grateful to DG for the possibility to choose the orchestra, the conductor and the concert hall that I wanted.

AR. How did you decide about your choice of J.Semkow and RCO?

RB. The first contact I had with RCO was a year ago in September. I played a concerto by Saint-Saëns and I discovered then already that this orchestra is very good for Chopin's concertos. At the beginning I was fascinated by their soft sound, timber, that I call "silky sound". It is simply unbelievable when you hear this orchestra.

AR K.Zimerman said to me there are numerous Stradivarius' instruments in this orchestra. Perhaps this is the reason?

RB. Yes it is true, beautiful violins. The timbre of the sound of the instruments is not "harsh" or "loud" but it is not "matt" either. I admired the wind instruments. These little fragments especially in the first movements of the concertos, where you can hear such a beautiful sound of French horn and bassoon, their interpretations were small masterpieces. It was a big pleasure for me to play with this orchestra.

AR. Usually those small fragments are in the farther background, they are not "exposed".

RB. Yes, sometimes they are in the farther background but while played by RCO even the tiniest fragment is heard, has its own dramaturgy, timbre and taste. They were beautifully synchronized with my piano part, which is demanding for the orchestra, the conductor and the soloist. This is due to the rubato and agogic changes. Playing this part was for me a true pleasure and great fun every time. I have noticed that while performing the Saint-Saëns concerto, full of "turbulences" in the tempo, changes in timber, plenty of virtuosity also in the part of the orchestra. The musicians from RCO proved their elasticity. That's why we decided to choose this orchestra. I have met Jerzy Semkow several times to discus and perform rehearsals in order to prepare the recording of those concertos. Our next meeting was then in Amsterdam.



Inside of Concertgebouw at Information, July 2, 2009
when Blechacz, RCO gave a live concert.
(Courtesy Dana)

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

This part of the interview (audio) is available from the archive of Polish Radio 1 where you can hear about a half of the interview.



Recorded @ Artur Rubinstein Suite of Hotel POD ORLEM, Bydgoszcz


AR: I was very surprised with your choice of Jerzy Semkow. Please explain it with some more details, how to combine his majesty with Chopin music. Jerzy Semkow is rather known for his interpretations of "serious" great works like those by Beethoven, Brahms, Rachmaninov.

RB: His majesty was visible in the first movements of both concertos...


AR: "Allegro maestoso "?...(both are laughing)

RB: Yes, but when it comes to the second movements and those founded on dance rhythms in the third we played them lightly in order to show their dancing character and not only the empty virtuosity.
Semkow won an enormous respect of the orchestra. They understood him perfectly and respected all his ideas, suggestions and remarks. He was a very good choice because Semkow gave the orchestra the opportunity to play their sound up to the end. His approach to Chopin's structure was very symphonic but on the other hand in the second movements which have very personal character he was very sensitive to my piano part, which made me feel very comfortable.
During our meetings before the recording he was taking detailed notes in the score of all my ideas even those concerning all little acceleration or slowing down that I use to do when I play. Of course you can't foresee everything. You need to have some freedom as well. Many things also depend on the hall, the ambience, acoustics.


AR: What interpretations of Jerzy Semkow have you heard? What drove you to make the choice?

RB: I heard his interpretations of Beethoven, Brahms, Rachmaninov for example. I was impressed by his charisma. When I saw him conducting and observed him during the rehearsals talking to the orchestra I was amazed by his ideas. This is why I decided to record Chopin's concertos with him.



Adam Rozlach, the interviewer


AR: Recently you celebrated your 24th birthday?

RB: Yes. We started the first recording session on the day of my birthday. It was really incredible because someone informed the orchestra of that, and they gave me a triumphal welcome with fanfares.


AR: Didn't they play "Sto lat"? **

RB: I don't think they know it. (Both are laughing)


AR: I am very impressed, that a young man like you, wants to learn from the experience of our greatest and oldest artist. Semkow is a conductor with a very strong personality.

RB: Sometimes a single and small movement of his hand or just one look at the instrument let everybody know what his intention was, what he wanted to say; sometimes a serious face but also a lot of smiles when we played the third movement. The orchestra liked all our Polish folklore parts a lot, especially in the F minor concerto.


AR: Was there also video recording?

RB: DG filmed the rehearsal, so perhaps they will show it soon mostly for marketing purposes.





AR: The third element-the concert hall.

RB: The acoustics of Concertgebouw is incredible - when the hall is empty as well as full.
You can hear absolutely every instrument of the orchestra, and building this dialog with instruments is an enormous pleasure. There is also the visual aspect of this hall, which gives a good ambiance, and has a positive influence on musicians, artist who perform there.


AR: You took the challenge to record Chopin's concertos in a special time and place. There are many fantastic recordings of both of these works, it is a world tradition, and in this constellation there is also a place for you, a place well deserved with your triumph on the XV Chopin Competition. During the last 4 years you proved to everybody that Chopin means a lot to you. You certainly remember the recording the same concertos made by Krystian Zimerman. What pushed you to take this challenge and responsibility?

RB: Of course. The responsibility is always there every time when I play in public or make recording. The beautiful recordings of Rubinstein or Zimerman are the icons of Chopin style and inspire all artists who want to create their own vision of this works, sometimes to introduce something new to this music. What was the most important to me was the humility, the naturalness, the sincerity and the simplicity which are present in this music.
The beautiful emotions which are in this concertos, all this richness of different ambience, character I wanted to show all this, deeply lived in order to make of it a result of my own experiences, experiences which are present in everybody's life. I wanted to make it real and sincere.
They are also the result of my 4 years spent together with them.


** "Sto lat" in literal translation "100 years" is a traditional Polish song played and sung for birthday.


AR: We have a recording of your Chopin's concerto in E-minor from XV Chopin Competition. Which fragment of it would you like to propose to listeners?

RB: The last bars, when the audience started to clap their hands, it was for me amazing and unforgettable moment. But I think that the beginning of the rondo deserves attention as our Polish dance has such a "dancing" character.


AR: Dear Rafał, we don't have choice, we need to play now the third movement of this concerto.

(Third movement)



DVDs from Competition



AR; It was fantastic. Do you come back sometimes to your memories from the competition or do you rather look forward to the future?

RB: I rather look forward but sometimes those memories are coming back naturally. My sister likes it, parents too to talk about the final of the competition, for all of my family it was a very important moment. Sometimes we watch the recording of my final performance. We have DVD too. It was a beautiful experience.


AR: For us it was also a very important moment, so I can understand how much it was to your loved ones who are always at your side.



Before the verdict



After the verdict with his family




With his teacher, those who love him.


RB: We often travel together. Now in Amsterdam all my family members were present. My sister finished her school year so there was no problem.
We spent together a wonderful time. Amsterdam is a very interesting city, there are so many museums and places to see. It always makes you feel more comfortable when you have a support from your family.
Sometimes there are stressful situations, but this is a part of life of every artist. I think it is important to have one of your loved ones near to you, with whom you can talk about many different matters, not only about music.


AR: And you don't come to an empty hotel room...

RB: This is sad... Many artists say that this loneliness is very difficult for them. But all the pianists I usually meet, as well as conductors always travel with one of their beloved.


AR: How do you prepare your repertoire? What is the proportion of Chopin music in it?

RB: I prepare the program of my recitals in a way to present works of many different composers in the first part. In the second part I play Chopin. I will act in the same way in 2010 - the year of Chopin. Together with his music I will also play Bach, Mozart, Debussy.
Those composers are my favorites from the beginning. Debussy because of the colours of his music, Bach because of my fascination for organ music and all classical music important for Chopin himself.


AR: You play "Passepied" from Debussy suite "Bergamasque" in such a fantastic way. You are able to build from this miniature true masterpiece; it has incredibly sublimate form and such a divine lightness, doesn't it?

RB: Debussy's music has a kind of special classical character, but what is also very important in case of Debussy is his extreme sensibility to the colours, which has a huge impact to the agogics of the piece. "Passepied" is a beautiful piece so is the entire "Bergamasque" suite. I love to play this suite. I recorded it on my first album before the competition, and I am almost sure that my next recordings will also include pieces from impressionist.

AR: Let's listen to "Passepied"" from the suite.

(Passepied)

AR: What about Karol Szymanowski? On this CD, you also play his music; Variations B-minor.

RB: After the competition I often played this piece in my recitals and everywhere people liked it very much. It starts with a mysterious ambiance but the final is unbelievable; many different characters, different emotions are out there. Szymanowski's works are very rich and should be presented all over the world; should be spread everywhere. Now I work on one of his compositions.


AR: When I was listening to your recital in Prague I was thinking how bloody difficult it is to play, am I right?

RB: From the "technical" point of view it is demanding but on the other hand musically, those Variations are beautifully combined together, sometimes one is naturally coming out from the other and sometimes they are founded on contrasts.


AR: Which fragment would you like to propose to our listeners?

RB: Maybe the 1st and 2nd variation.

(Variations)


From debut CD "PIANO RECITAL"


AR: You possess, in my understanding, an incredible intuition in interpreting anything you put on the music-stand of your piano. I guess that the talent is gifted by heaven but not in entirety... What do you think? How did you manage to interpret Mozart, Haydn, Chopin with such a taste and right feeling?

RB: It grows up while an artist grows; the process lasts for a long lifetime. Studying the epoch, analyzing different styles, enriching knowledge about composers; sometimes theoretical aspects helped a lot in interpreting works.
By studying other composers I have reached Chopin, and it happens the other way round as well. All are interconnected and interdependent.
Intuition surely matters, and it is something that you are to grow, enrich and develop.


AR: I guess this is how you enchant the audience: with your freshness, fantasy, sense of music, virtuosity but also your sense of humor, especially on your last album you just enjoyed yourself with choice of the works.

RB: Indeed, there's a lot of humor there, especially in the music of Mozart, Haydn, even the pieces by Beethoven, in which we can hear the emotions that followed the writings of the composer. The same ambience was there during my recordings. To play and to interpret these masterpieces on stage, it should be performed with joy.


AR: I think "Daddy" Haydn pointed to this direction and Mozart as well as Beethoven were his pupils.
The scherzo from sonata by Beethoven is just fantastic, isn't it? It is so light!

RB: Of course, and at the same time it is so gracious, full of dance, relating to minuet. It is extremely important to match the right tempo of the piece. The nuances of humor and colour of sound then become very well.


AR: This fine articulation is truly a masterpiece. Let's listen to this part...

(Scherzo from Beethoven sonata opus 2-2)






AR: How do you plan to celebrate the 200th anniversary of Chopin's birthday?

RB: The year 2010 is going to be intensive. I perform numerous concerts in Europe, America and Japan. Three continents in one year.
I am glad that the recording of Chopin's works was done this year, as in next year I will be only giving concerts, while the album will be out.
In 2011 we celebrate the 200th anniversary of Franz Liszt's birthday. Related to that occasion are my upcoming performances. I will start in February 2011 by his piano concertos with the Philadelphia Orchestra under Charles Dutoit.


AR: I suppose we'll be shortly listening to the album with Liszt's concertos performed by Rafał Blechacz and Philadelphia Orchestra under Charles Dutoit. (←interviewer's guess)
What is your holyday plan? Zimerman who is our common friend, once said that when he decided to rest, he was back to hard work after two days.
Can't you live without work either?

RB: Working is necessary, so is taking a rest.


AR: Where are you heading for holiday?

RB: I expect I'll be in Poland, near the seashore.


AR: We wish you a pleasant vacation.
We are very proud of your achievements. We are happy you could give us some of your time.
We'll be looking forward to seeing you.

RB: Thank you very much.

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


At the beginning of DG Promotion video produced in spring 2007,
Blechacz plays one of the concertos by Liszt, concerto in A Major



In retrospect, this video & the debut CD already heralded activities in the coming years.

Before I read Orlen's book "Rafał Blechacz" saying that in 2002-04, he appeared at the Polish Piano Festival in Słupsk, where he won the Youth Stage award, after playing Liszt's Concerto in A Major, Chopin Concerto in E Minor, Bach, Szymanowski, Debussy, etc..

Jul 14, 2009

Interview with Blechacz podcast (Polish)

Part of the interview that Rafał Blechacz gave to Polish Radio 1 (broadcast on July 12) is now available
from archive of Polish Radio 1.
(About a third of the entire program, first half of the interview, is made available.
In the second half of the program, four pieces from Blechacz's previous recordings were played in intervals of the interview;
Chopin concerto in E minor 3rd movement, part of Szymanowski variations, Passpied by Debussy and Beethoven sonata No.2 scherzo.)

Please click on here ,
then click on "Rafał Blechacz (7,61MB)" with the speaker icon on the left-bottom and
Quick Time will start the recorded interview.


(Thanks to Roman for the info!!)

Roman says that during the interview Blechacz is very assuring, very smooth, communicative and well versed; he talks without hesitation and in a very good literary Polish.
I felt that the way Blechacz speaks is like a fast, beautiful passage of Chopin.

Jul 13, 2009

Blechacz new CD international release Oct.5 - DG

Deutsche Grammophon says that Rafał Blechacz's new CD "Chopin The Piano Concertos"
will be released on October 5 internationally.

DG site "Chopin Rafał Blechacz The Piano Concertos"
International release is Oct. 5 - DG
Catalogue page



"Chopin The Piano Concertos Rafał Blechacz"



"Rafał Blechacz makes an astounding orchestral recording debut with Chopin’s Piano Concertos nos. 1 & 2

Pianist Rafał Blechacz, returning to his beloved Chopin, teams up with the supreme musicianship of the Concertgebouw Orchestra under conducting legend, Jerzy Semkow.

After Rafał’s hugely successful Deutsche Grammophon debut Chopin recording – almost 60,000 sold worldwide – music lovers await the unique interpretive contributions this winner of the 2005 International Chopin Competition will make to these two legendary concertos.

This is for sure: Rafał’s way with Concertos nos. 1 & 2 will be a landmark recording of this highly emotional, popular, and poetic music – a young master heralding Chopin’s 200th birthday in 2010 with an early birthday gift we all will love."




Poland September 18 ?? Polish Radio
Germany October 2 (Amazon)

Jul 12, 2009

Blechacz interview broadcast July 12 (PolishRadio)

(First posted at 00:30 am July 11 CEST,
updated at 01:00 am July 12 CEST)



Interview with Rafał Blechacz will be broadcast by Polskie Radio Jedynka (Polish Radio 1)
at 22:10-22:58 on July 12 (CEST).

To listen to Polskie Radio Jedynka

Program page

"Meeting with Rafał Blechacz .
Only in the Program of Polish Radio 1, Sunday at the Gallery of Polish Musicians at 22:10,
meeting the winner of the XV International Frederic Chopin Piano Competition - Rafał Blechacz.

With our outstanding pianist, immediately after his recording of two Chopin concertos
(with the Royal Concertgebouw Orchestra of Amsterdam under the baton of Maestro Jerzy Semkow for DG)
-at the Arthur Rubinstein Suite (with a piano) of Hotel POD ORLEM in Bydgoszcz
- Adam Rozlach spoke.
Welcome! "



Rafał Blechacz speaking for Polish Radio



The scheduled radio program is subject to change of time/date.
The previous air schedule was July 11. (↑ The photo comes from this page.)
Current monthly program table is here.

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

The interview was carried out on Friday July 10 in Bydgoszcz.
Besides, Rafał Blechacz gave interviews to five media -two dailies/a weekly/a monthly and a radio station this week.
Their publication dates are not yet finalized.



(Thanks to Roman  for the info.!)


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


Krystian Zimerman's new CD : international release on October 1.
BACEWICZ Piano Sonata No.2 & Piano Quintet No.1, 2
See DG site.

Already available via Amazon Germany (import label)

Related story Japan  

Jul 10, 2009

"I never abandon contact with piano" - Blechacz interview (Poland)

Netbird.pl Kultura posted on July 7, 2009, an interview with Rafał Blechacz.

Original interview (Polish)


"I would never abandon contact with piano", says Blechacz.

Rafał Blechacz, the winner of the Chopin competition in 2005, 
talks about his love of music, magic of concerts, and plans for the future. 


Rafał Blechacz says that he has never - even in the earliest years -experienced the collapse of his interest in music. 
Not only that, it was never the story of coercion by parents for forceful exercise on the instrument. 
He says that when he was a child he already knew what he wants to do in the future, 
and the ability to exercise for uninterrupted hours on instrument left people in profound astonishment. 

This does not mean, however, that he allocated his time only for playing the piano. 
As he stressed, his growth proceeded correctly - he played with ball and he traveled by bicycle. 

At some point, however, music became prevailing and piano became his indispensable element. 
A simple fact played the biggest role in selecting future road 
- the young musician deeply loved playing for other people. 


The pianist remembers that he enjoyed days when he would hold concerts.
He played accompaniment for ceremony equivalent to the holy mass,
and in the air an exciting atmosphere was rising. 

"The silence prevailing in the room fascinated me before I started playing. 
The very silence in the room before the first touch of the keyboard is a sign of transmission of specific emotion, 
which is to take place in a moment. 
At that moment I am aware that I can interact with the people seated in the audience.
And in the end I am rewarded with the popular applause", Blechacz reports. 

In this respect, little has changed until now. 
Satisfaction by the listeners is the highest award for the musician and mobilization to improve his skills. 


The musician recalls that in his family there was a long tradition of amateur music. 
His grandfather belonged to a music team of accompanying local celebrations, 
and father and uncle played the piano. When Rafał Blechacz came to this world, the piano was waiting for him at home. 

The boy loved climbing at the piano to tap melodies and his parents understood it quickly. 
At the age of five he was sent to the music center in Nakło first, and then to the School of Music in Bydgoszcz. 

Perhaps the musician's children would follow the similar way. 
But for now he doesn't plan to start his family yet. 

In addition to music, he absorbs studies 
- from 2008 he has carried on doctoral studies at the Faculty of Philosophy, University of Nicolaus Copernicus. 






Rafał Blechacz talked about friendship, which connects him with Krystian Zimerman. 
After the triumph in Chopin competition they spent together seven days,
during which commonly they played Chopin, Debussy and Beethoven, 
and Zimmerman found for Blechacz thirty CDs, which should be thoroughly studied. 

This type of intimacy becomes major tradition in the world classical music. 
Suffice it to say that at the time of his success Zimmerman stayed for a week at the Arthur Rubinstein. 
Of course, in addition to friendship in an environment of professional musicians, there is also competition. 
The young pianist however - is not troubled by this. 

“I think that's great, since there are different music interpretations. 
Listeners thus have a choice. As in the gallery of images. 
And every artist has his own public” - he adds. 

It is important, however, that the musician does not exceed a certain limit 
- he would play for the audience but not to the taste of the 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.



Piano, although it is love for Blechacz's life, it doesn't exhaust all his interest in music. 
He says that he is tempted to take a baton at his hand as even Zimerman or Barenboim did. 
The pianist is of the opinion that knowledge about conducting helps in the interpretation of music compositions 
and allows a soloist to put more requirements on orchestras accompanying him during concertos. 

Blechacz stresses that he also loves playing the organ, but after the Chopin competition he has less time. 
The sound of organ and performance in the church, in his view, form the soulful aura and great sense of peace. 


Krystian Zimerman once said that one day Blechacz will have to replace him, taking over the pianistic baton. 
The musician doesn't hide his satisfaction and offers these words. 

"It is very nice words. Verification of the appropriateness of my artistic way" - he says. 
And he adds that it also means a pretty big commitment that he should take. 


The conversation with Rafał Blechacz was published in the "Wprost Light" dated July 12, 2009.


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

When Rafał Blechacz mentions his interest in conducting orchestra, I recall remarks that a gentleman in the audience shared with me for his playing concerto in F minor by Chopin in NY last year.

"...the second performance by Rafał on Saturday was excellent too
and the orchestra and the conductor were even more in love with his style, 
his approach he demanded in his gentle and convincing way. 
The public was nailed to the chairs, stunned with awe and admiration..." 

This gentleman recently described for me why (or how) Rafał Blechacz's playing strikes chord in people's heart:

"......I couldn't forget Rafał playing it at New York Philharmonic under Marin Alsop. 
His rendition was so brilliant, spontanesous in a sense, with perfect proportions 
bewteen piano and forte, between quietness and fervor. 

Rafał extracted from the piece all its effervescence, its spark, and - at the same time - its seriousness and elegance, 
so ideally that one couldn't think or rather feel that such a genius composer as Chopin would intend otherwise..

...what I am trying to say, is that the whole playing of the piece from the beginnig to the end 
should be an even and proportional realization of a concept to communicate the entire aesthetics assumed in the piece. 
And then a listener is being captivated, immersed more and more in the beauty of the piece 
as the playing progresses, to be left off in awe at the end. 

And Rafał is a master of this".