Polskie Radio 2 website
(↓ translation of the interview)
Interview with Rafał Blechacz made by Krystyna Nurczyk shortly after the performance in Lucern, Switzerland
[Translation by Marzena Jaworska]
At the beginning Rafał talkes about his c oncert plans for December, January and February, including - as he says – “a very intense tour in Japan” and his first concert in Korea which he is looking forward to.
K.N. Do you prepare for concertos with orchestra in a different way (compared to recitals – M.J.)?
R.B. Well, with this orchestra and under this conductor I am playing for the first time, but now, after working with so many different orchestras, and with some of them more than once, I can say that for me it is always a great joy to play with a wonderful orchestra, where we can “rubate” together while performing our interpretation; it is crucial to adjust to each other in terms of personality, interpretation and music itself, so that both the conductor and the soloist “breathe with the same air” when playing a given phrase; if they do, the musicians from the orchestra usually respond adequately, which makes the whole interpretation very natural.
|not related to this interview|
K.N. What decides about the way you play?
R.B. What we experience in a piece of music depends in the first place on its content; the emotions are crucial as well, but first of all the musician should listen to one’s own intuition. In the case of classical pieces, for instance sonatas by Haydn, Mozart or Beethoven, it is essential to know what the classical Viennese style actually is, so one needs to browse and study some books for it, but also listen to one’s heart, communicate it to the audience and be natural while doing it, because if there is any slightest affectation in the interpretation, the audience tends to hear it. But when the interpretation comes from the depth of one’s heart and soul, it is true and therefore usually convincing.
K.N. In your case it is very delicate, as if there was a light mist drifting over the piano…
R.B. It all depends on the piece that one is presenting. For example, the Beethoven concerto I have just performed demands neither a huge sound volume nor a dominating fortissimo dynamics. It is an early Beethoven’s work, written at the time when the composer’s unique style was starting to develop. I have even heard that some listeners take it for a Mozart’s piece; in other words, this type of delicacy is one of its main characteristics. However, if I was presenting a different piece, for example a concerto by Rachmaninoff or Brahms, I would have to present different sound qualities. Indeed, the atmosphere which is being created while playing those pieces is very unique and the moods are extremely evanescent…sometimes.
K.N. Are there any pieces you still need to “grow up to”?
R.B. Certainly. There are always some pieces I am thinking about and some pieces I am preparing, so it is important for me to have a strategy of building the repertoire and some trajectory to follow in the next years.
K.N. What is still ahead of you then?
R.B. (Laughs cordially) Such things I mustn’t disclose! For now, I can tell you about my plans for the coming seasons. I am soon recording a solo CD with pieces by Chopin for Deutsche Grammophon – this time it is going to be his complete polonaises; I also dream about recording his complete mazurkas a bit later. But now I am focusing on the polonaise trend in Chopin’s work. […]
**The journalist also asked about the impact of the 1 st Prize on Rafał’s career and the relationship between his stage performances and CD recordings.
My heartfelt appreciation to Marzena for the translation!!
Some of the images and literary works on this website remain the property of their owners. No copyright infringement is intended.
Visitors are asked to contact personally before quoting any material which is exclusive to