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SEEN AND HEARD INTERNATIONAL CONCERT REVIEW
Chopin:
Nocturne in F major, Op. 15 No. 1
Etudes, Op. 25 Nos. 1, 2, 5, 6, and 7
Polonaise in F sharp minor, Op. 44
Mazurkas, Op. 7 Nos. 1, 2, and 3
Mazurka in A minor, Op. 17 No. 4
Scherzo No. 1 in B minor, Op. 20
Granados:
From Goyescas:
Los requiebros
El fandango de Candil
Quejas ó la Maja y el Ruiseñor
El pelele
A year ago Garrick Ohlsson gave the Meany Hall audience a Chopin
recital that was among the most memorable evenings of the season. This
time, standing in for that great Chopin interpreter Nelson Freire, who
was indisposed, he devoted his first half to the same composer, but then
after intermission offered a rare opportunity to hear a substantial
selection of pieces from the later 19th-century Spanish master Enrique
Granados.
Excellent results were perhaps predictable in the Chopin, where this
splendid pianist was as convincing in the marshal rhythms of the
F-sharp-minor Polonaise and the quasi-Lisztian flights of the B-minor
Scherzo as in the more withdrawn poetry of the other works. Granados is
a more unknown quantity. I have loved his often delicately understated
piano pieces for years, but Ohlsson opened up broader and highly
impressive vistas, again capturing both tingling Spanish rhythms and at
times surprisingly expansive romantic afflatus with equal conviction.
Ohlsson always makes a beautiful sound, so a certain brittleness in the
middle reaches of the keyboard on this occasion must probably be blamed
on the instrument, whose top and bottom registers were perfectly fine.
But there were other circumstantial factors that undermined the success
of the recital, and I hope readers-not to mention the pianist
himself-will forgive me if I devote the bulk of this review to their
consideration.
Concert platforms really ought to be plain in decor, so that we can
concentrate on the music and on those performing it. In this regard, the
three large paintings at the back of the Meany stage have always
constituted a potential conflict of interest, but at least they don't
move. Since last season, however, a fairly large screen has been
suspended over the front of the platform, and its live representation of
what is going on beneath it (i.e., another view of what's happening
onstage) must surely be a distraction to any listener endowed with even
a modicum of peripheral vision.
I am all in favor of finding creative ways to make concerts a more
compelling experience-but not of devices that impinge negatively on the
actual music. The Chicago Symphony's "Beyond the Score" concept, which I
sampled recently at a Seattle Symphony concert where it was used, has
its faults; but at least it is limited to preliminary exegesis and
illustration, the performance proper being allowed to make its effect
without visual interference. With Meany's new technology, it is very
hard to restrict one's gaze to the actual pianist without being
distracted by his image a few feet above.
It was a sad irony to hear a rather witty intermission speech soliciting
financial support for the University of Washington's valuable music
series, and on the same evening to be presented with an initiative that
must have diverted a considerable sum of the university's money to the
detriment of those series' mission. It is perhaps not necessary to go as
far as Sviatoslav Richter went in eliminating visual distraction from
the setting of a performance. Still, I shall never forget the sheer
intensity of concentration in the Amsterdam Concertgebouw when he played
five Beethoven sonatas there at one of his last recitals, and when the
stage was dark except for one small lamp on the piano. The music, and
his playing, were simply all there was to occupy the audience's
attention, and the benefit in musical satisfaction was immeasurable.
I have no idea how the university writes the contracts for its
-in most respects excellent-
President's Piano Series. But I would seriously urge on future
participants that they refuse to allow the impact of their
three-dimensional music-making to be undermined by its totally
unnecessary two-dimensional reproduction on that pesky screen.
Bernard Jacobson