Piano-Festival Ruhr: would like a full-on sounds true the distance

A start, as the Pianist would have to op to Play again approach the keys: the introduction of Frédéric Chopin's f minor Ballade. 52, performed by Jan Lisiecki

Piano-Festival Ruhr: would like a full-on sounds true the distance

A start, as the Pianist would have to op to Play again approach the keys: the introduction of Frédéric Chopin's f minor Ballade. 52, performed by Jan Lisiecki in the Dortmund Konzerthaus. Trumps would be out of place, but it is also unnecessary. Before the first melody of the sound of the instrument in the room, as a wealth of possibilities. The theme continues as something Specific that needs to be raised from the memory and not überscharf articulated, because it is familiar: a popular song. It is then, so to speak, from mouth to mouth, as were the refugees, a strange area home to set up.

Patrick Bahners

feuilleton correspondent in Cologne and is responsible for "Humanities".

F. A. Z. Twitter

the concert, visitors will find themselves in a familiar world again, which retains something Strange, even if you were allowed to drop at the closing of the hall doors their masks. Not even the dressing rooms are open.

Franz Xaver Ohnesorg, artistic Director of the from admission fees and private donations financed the piano-festival Ruhr, would like to deal with the Emergency issue of the festival, a double character: cultural events, in compliance with the current health policy protection rules are possible – and contacts can in fact be reduced to a Minimum. Under normal conditions, one would describe the room as empty. On two occupied places seven empty follow, several series will remain completely free. In fact, no crowd is created upon Entering and Leaving the hall.

a 70 minutes Solo without a break

The pianist to play their solo programs twice a day, seventy minutes, without a break. Jan Lisiecki has come from Canada. Of the twenty-five year old grew up in Calgary; his parents had emigrated in 1988 from Poland. He gives four concerts and a pure Chopin plays on the first two days of the program.

In the center of seven Nocturnes are. How is Lisiecki, the night pieces? In a word: light. With this paradox to be nothing Deliberate means. On the contrary, the Artist is one of lisiecki's design to the extent that she takes back. The romantic Wander, the expansion of the premises in the course of time, is not a matter of whim. This night wanderer is almost a Paragon of consistency, and can only conclude, therefore, acquaintance with the Incongruent. When you Enter dreamy regions of the Pianist and the listeners are awake. Strictly Lisiecki holds in the bass line of the measure. The series of Nocturnes acts like a series of character pictures in front of different rhythmic Background. In the C sharp minor Nocturne op. 27 no. 1 connect the bass to the noise of a barrel-organ, in d flat major-counterpart op. 27 no. 2 sort as a circuit of a Perpetuum mobile.

Lisiecki understands to vary the stroke and makes this most striking design of the pianist, if you will, his handwriting, the Instrument of mediation. The degree of hardness of the attack is not the nature of the target tone to the expression, but is the Moment in a context of relations and contrasts. Like in an old European procession, each would occupy a carrier of its place in its own right, so the theme of the c building-minor-Nocturnes op. 48 No. 1 step-by-step on. Lisiecki chooses a slight stroke and this gives the breaks separated tones weight. On a March, you will not think of this Interpretation: The individual sounds demonstrate no strength, but a sucking Emptiness that surrounds you, to transform you into the atmosphere.

The theme of the middle section of op. 27 no. 1 Serenade a kind. Lisiecki, before wearing it with a full-bodied plot: The connectivity of the gesture, the episodic function of the Passage is; the melancholy decay, which is established in the course of the repetitions, is created in the agglomeration of the will. A specialty of lisiecki's Chopin game is his treatment of melodic material for which the image of the Auffächerns or Aufblätterns was proposed: A Chopin melody is the patient that is the concatenation of striking shades. In b-flat minor Nocturne, op. 9 no. 1 leads Lisiecki the topic in a kaleidoscopic refraction, which makes its shape intact. This is no wonder: The Declaration provides the rhythmic discipline of the pianist, dramatically said: lisiecki's aversion to the Rubato. Controlled motor function, and diversity of the colors are paired.

Date Of Update: 12 June 2020, 13:19

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