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Jul 19, 2012

From a review by an audience member

From a review by an audience member of the concert @Amsterdam Concertgebouw,May 11, 2012 when Blechacz played Beethoven's Piano Concerto No.3 with Deutsche Kammerphilharmonie Bremen; Conductor: Trevor Pinnock.

Original review

(excerpt of the review)
Rafał Blechacz - performance of Beethoven in style

Listening to Beethoven's piano concertos with symphony orchestra it happens that we forget they represent not only development of form and compositional factors realized in each concerto by the composer, but also changes in orchestration. During a concert in Het Concertgebouw in Amsterdam on May 11, 2012, listeners were able to get great joy not only from the excellent performance of the third concerto by Rafał Blechacz, but performance in style by the Deutsche Kammerphilharmonie Bremen under the direction of Trevor Pinnock.

Trevor Pinnock is also a harpsichordist and conductor. .....

This type of execution in style determines proportion of dialogue between the concerto instrument and the rest of the team. From this experiment Blechacz emerged prevailing.

Through the stage setting of this event, you can let your imagination run wild: how this concerto could be performed in an environment of court?

The pianist of great sensitivity operated sound and pedaling from Allegro con brio-he actually performed con brio - through Largo to light and radiant Rondo Allegro with this instrumental setting.

Blechacz as always charmed the audience with his natural sensitivity, maturity and awareness of each extraction from sound of instrument. With great attention to the nuances - such as polyphonic elements. This does not mean that the concerto exhibited only style of traditional aspects. The execution didn’t emphasize archaic or romantic elements. Very well-balanced, classical, centered, as if indeed a turning point in the work of the Viennese classical concerto.

During the performance of Beethoven, the stylish harpsichord, from which Trevor Pinnock conducted throughout the first part of the evening was still on the stage near the piano. Inevitably a comparison occurs between the economical ostinato, just performed by Trevor Pinnock with the harpsichord and the wealth of resources presented by the pianist with the piano.

Although Blechacz sometimes delivered single color, as in Largo, through the dialogue with piano, there was no doubt that this is the performance with the instrument, which among all the other instruments on stage, develops a royal position, it opens a new era for keyboard instruments.

After the first part of the concert, as an encore Blechacz played Mazurka in C sharp minor, Op. 41, No. 1, leaving the audience in suspension,...

(by Marzenna Donajski, piano teacher and pianist)


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