Preludia - Unofficial website for Rafal Blechacz


Jan 28, 2010

Review of Rafał Blechacz's recital in Milan

A review of Rafał Blechacz's recital in Milan on Jan.26, posted on the site of Il Giorno, a national newspaper of Italy based in Milan.

Original review (Italian)
I couldn't find the author's name...

And Chopin flies on the fingers of the enchanter of the piano

Sounds very nice, Rafał Blechacz. But this was granted to the man who trounced a monster-like Chopin Competition in Warsaw, and who already recorded discs accepted with great interest by all the music magazines in the world. Don’t forget the Concerto No. 1 by Chopin which he played at the Verdi two years ago, the interpretation outperformed by more refined and articulated recording but already on the same line.

The focus of the concert at Milan’s Quartetto was thus first of all to verify - in an artist so young - the 'acceptance' in public, and the public that in fact crammed the hall of the Conservatory. And then how he’s articulated among them the stages of a program very stimulating. Putting Bach (Partita I) before Mozart (the Sonata K570, whose apparent simplicity has made it rare in performance practice, but by considering architecture of Haydn he composes a serene well balance, the very feature of Mozart music) and adding Debussy’s "Pour le piano," or his first piano masterpiece, which launches the neoclassical aesthetic with which all late romanticism and nineteenth centuries are overridden, to return him to the seventeenth and eighteenth centuries, with Bach as a guiding beacon. All the second part was devoted entirely to Chopin, thinking exactly most of these structures.

BUT Chopin in Mazurkas (the three of Op. 50), that is the intimate pages of the diary of the Polish exile who thinks of Poland time and again, Chopin in iconoclastic whirlwind of Scherzo (no. 1), which comes to demolish even an organized structure such as a Polonaise (Polonaise-Fantasie op. 61, where the upheaval is colored by his contemporary autobiography, such as the painful breakup with George Sand) here, plotting in one evening a mass exegetics (biblical interpretations) so demanding - that is, showing that precise choices are the basis for drafting a program but it is anything but simple.

No problems with his fingers. Indeed, so admirable is their certainty (from octaves of Polonaise to the crossroads of Giga from Bach, to the arpeggios of the Scherzo) to allow a phenomenal transparency. Essential to the work on timber first of all (which is Debyssy!), and across this on the rhythm, translating in a luminous song, like almost springwell, that breathes through a prodigious use of rubato (too slippery in molasses (sugar syrup), too little in mechanical rolling, but the correct mean is a rare thing), and that singing as solo like a great vocal enchanter.
↑This is the link to the page of Il Giorno on Jan.25, where a preview of various concerts is shown, including Blechacz's Milan recital.
A straightforward introduction. 

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