Garrick Ohlsson began his all-Chopin programme with dense interpretation of Impromptu in F sharp major Op. 36. Very interesting effect was made in the middle section, that was not understood during composer’s life and which still sounds modern in our times. The dynamic climax was built with precision; however there were some uneasy sounds in the low register. We had the same impression during the performance of Ballade in A flat major Op. 47 that was played very slowly, with climax produced in both powerful and heavy way. The interpretations of Ohlsson were difficult, not immediate, very personal and striking. They certainly stood apart from the canon of performance of those works, if we may say so about pianist, who won Chopin’s International Competition, and is renowned admirer and propagator of Chopin’s music. As such Ohlsson is one of those pianists who actually form the canon of performance.
Fantasy in F minor Op. 49 was also performed in an unusual way, with its opening phrase played surprisingly fast. The middle section of the work was captivating, in its slow tempo and well-controlled dynamic. Two Nocturnes Op. 27 formed the climax of the first part of the programme. There were different moods clearly expressed, as many more things can happen during the night than just listening to nightingale’s songs.
During the intermission of the concert that was broadcasted by Polish Radio 2 channel the interview with artist was aired. Ohlsson shared his experience with period instruments, stating that the main difference between mid-19th-century and modern pianos lies in bass register. According to Ohlsson, this register can “roar” sometimes. He is convinced that composers like Liszt or Chopin new that well and used the harsh sound of this register consciously. Ohlsson remarked that it is possible to transfer this sound to modern piano. We begun to wonder if this was the key to the aesthetic world of the artist. The uneasy sounds were roaring indeed. In moments of climax the endurance of the piano was heavily tested. In context of the interview we may assume that this was purposely made approach to recreation of the idea of sound of period piano’s bass register.
The experimental, if we may say so, part of evening concluded with the Op. 27. Before the intermission Ohlsson performed Scherzo in C sharp minor Op. 39. It was more “classical” reading, but still very personal.
24 Preludes Op. 28 were the only item of the second part of the programme. Once more, Ohlsson’s own interpretation was close to the canon of paying this cycle. The Prelude in A minor was particularly impressive, as the tonal centre is not necessarily clear. Ohlsson’s playing set up the tonal aspect very firmly though. All of slow movements were played very well being the mainstays of the cycle. We do not try to state that fast movements lacked something, on the contrary, Ohlsson was at his best here; form the initial Prelude in C major to the final Prelude in D minor.
Ohlsson was very convincing during the evening, and with every work performed there was growing number of auditors taking pianist’s side.
The evening concluded in most charming way with many nice gestures that Ohlsson addressed to Polish audience. First, when a young woman entered the stage to present pianist with the flowers, he bowed and kissed her hand, adopting that specifically Polish habit. Then the artist announced an encore: “Mazurek opus siedem numer dwa”. Yes, it was said in Polish and won him many hearts. That was still nothing in comparison with the appreciation after he actually performed it. All encores were announced in Polish, as artist played Waltz in A flat major Op. 34 and Waltz in C sharp minor from Op. 64 concluding with Etude in C sharp minor Op. 10 No. 4. Those were thrilling performances, especially in Waltzes there were some elements rarely heard. In the middle section of Waltz in A flat major Ohlsson underlined the middle-voice, funny melody that brought smiles to many faces. Performing the Waltz in C sharp minor he focused our attention to the accompaniment that seemed strange at first. When the fragment recurred, the right hand took over again, and accompaniment was sent back to the background, but at the same time it was clearly audible, and was more meaningful.
The Etude, played con bravura, concluded this most enjoyable evening.
Krzysztof Komarnicki
