"Making music is a search for the right balance between what the music requires and taking your own artistic freedom." (Rafał Blechacz)
This is a fragment from the interview that Blechacz gave to NRC of the Netherlands in March 2012 in the following context.
".....To compare musicians in a competition is discordant with the nature of the music. " His individuality is sacred to him, says Blechacz. “Deepening in a piece of music as a personal adventure and experience it. "
To study of the identity of the music, he devotes his free time. He studied philosophy, with an emphasis on aesthetics and music philosophy. Look, he points out, the writings of the Polish phenomenologist / aesthete Roman Ingarden are always in his book bag.
“Ingarden said interesting things about the identity of musical compositions. The problems he mentions touch on the questions I ask when interpreting musician, about interpretation, hermeneutics and the role of metaphysics for example. Why? Take Polonaise fantasia Op 61 of Chopin. Such a piece of music calls, and that goes for many great music, a strong metaphysical feeling – both for listeners and for performers. Sometimes I experience that sensation, sometimes I force myself to realize what and when that happens in me."
The need to point and identify thoughts and emotions during my playing is artistically very fruitful, he means “Władysław Strózewski, a student of Ingarden, wrote that the finding of a good interpretation is always a dialectical process, depending on growth and changes within the psyche of the artist. Making music is a search for the right balance between what the music requires and taking your own artistic freedom - as it were, between the notes on. "
And then Blechacz gets back in the car, on to the next concert. “But of course I look forward to them," he says. “The life I lead is full of everything I loved as a child from a performance of a concert: the atmosphere of tense anticipation, especially." With a smile: “Now people are waiting for my interpretations. And the concert halls rooms are bigger."
This was one of the most impressive parts of the interviews that Blechacz gave last year. Every word was too important for me to round off to make a summary.
Another impressive fragment was from this interview that he gave for Polish media in Jan. 2012.
".....I am impressed with the text by Roman Ingarden, who writes that the role of a listener, who has the perception of the music experience, should be active. This is largely dependent on the sensitivity, but also some knowledge and attitudes. If the good will from listeners who perceive music is missing, a desire to experience something beautiful or something that may prove to be a metaphysical experience, it will not be a good effect.
Music can also in some way, shape morality; if we treat some religious works such as Bach’s cantata, a transformation of personality of the listener could happen. A piece of music has such power, obvious connotations, evokes emotions, directs some reflection or action.
The role of listeners who perceive the music is absolutely important.
The vocation of artist is essential to keep this in mind – the artist performs for another human, for his heart, mind, and in a sense, for his life".
** If there is a role that a listener can play for the performance for positive experience such as learning knowledge and attitude, I'm willing to make an improvement.
Recently I received e-mails from new/anonymous readers; one mail apparently was addressed to Rafał Blechacz with words of admiration for his artistry (calling him angel) and another was written in French meticulously praising Blechacz's performances of Polonaise, Sonata and Waltz by Chopin at the Competition (regrettable that I don't find time to translate it for sharing). I would like to thank them for expressing eager support of the artist and his art by means of mails to this blog that is written by his fan supported by other fans for the artist and for all the music lovers.
Muza Kawasaki Symphony Hall, a home concerthall of The Tokyo Symphony Orchestra, the orchestra Rafał Blechacz played with twice in the past (at 2003 Hamamatsu Competition and for the special concert in 2010 Chopin Year→☆ ☆), will reopen in April, after going through two-year reconstruction work from destruction by the big earthquake in March 2011. The hall recovered its good acoustics, ready for big events including an orchestra week in autumn featuring concerts by Vienna Philharmonic, Royal Concertgebouw and Berliner Philharmoniker.