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Dec 9, 2012

Review of Rafał Blechacz's recital in Las Palmas de Gran Canaria


A review of Rafał Blechacz's recital at El teatro Pérez Galdós, Las Palmas de Gran Canaria, Nov. 26.

Original review

(Quote)
Four pianists in one

JOSÉ PÉREZ SAMPEDRO One of the musical heights of this season would be undoubtedly the concert that the Fundación del Teatro Pérez Galdós with the Sociedad Filarmónica offered last Monday inviting the Polish pianist Rafal Blechacz. And the first thing that I remember is that, because of the much discussed budget cuts in Culture, possibly without the help of the two entities it would have been impossible to celebrate the event which, I must say, will be remembered long.

from Laprovincia.es
The first thing that I felt outstanding is the magnificent program he offered encompassing different music styles and epochs and all this, as we shall see in detail, with great fidelity to the spirit, sound and personality of each composer and therefore, we enjoyed a clarity of exposition so clearly that it allowed us to follow counterpoint note by note of the Partita No. 3 in A minor by Bach. But that was not all, because his variety of dynamics, with dreamy pianissimo, and rhythmic range were so changing that it allowed us to appreciate the variety of dances, resulting in a lively Bach; cheerful in Allemande, dancing in Corrente and Scherzo, and discreetly meditative in Sarabande, in short, an anthological version.

It had been many years since I heard live the Sonata No. 7 in D major, op. 10, No. 3 by Beethoven and it was a discovery, because I had forgotten the gap that separates it from other works of the opus, since in its first two movements there is something more than indicative of matured Beethoven, abandoning the gallant style of Haydn so influential in his early works. For the impetus and drive of Presto, very rapidly corresponding to its tempo, marking perfectly contrasts of the themes and with the same expositive clarity, the meditation of Largo surprised us, the first of his magnificent Lentos (believed to be composed shortly when perceiving the first symptoms of his deafness), which in the pianist's fingers became a secular prayer, with its pauses filled with sadness and pain. The continuation of the Sonata, the Menuetto and Rondo, let us return back to Beethoven of his earlier epoch, but, curiously, with a final with piano.

In Debussy's Suite bergamasque, what surprised us was the literary character that dominated all its notes with Clair de lune, extraordinarily impressionistic that reminded us of other versions of great experts in this style. And, talking of a Polish, it’s impossible to miss his most notable musician, with the two Polonaises of op. 26, in which conquests of Chopin’s piano appeared, with an outstanding, but not exaggerated use of rubato and ending the second Polonaise with the only bright final of the whole program? perhaps to show that he is not concerned about the easy success.

An explosive ovation from the audience, standing up, brought us an encore of one of the most famous Chopin Waltzes.
(Unquote)




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