Before the sizzles, and other damage from mother Nature, a gift almost unhoped-for we smokes offered yesterday afternoon. In a Maison symphonique almost out, the legendary Italian pianist Maurizio Pollini was of the passage, the time of a recital. Twelve years after his coming to the salle Claude –Champagne, the one who has made a speciality of the repertoire of Chopin, particularly The nocturnes, was just a hat-trick of this composer, Debussy (Preludes, book II) in the second part.
A Chopin between two waters
If the mazurkas were absent from the repertoire, the Prelude in c-sharp as well as the Barcarolle were at the same height, without, however, move us. Pollini delivered a work chiseled, taking the place of the breaths needed, without however having the game aristocratic of a Rubinstein. The Sonata no. 3, known as The funeral march was really ! Of anguish at the urgency, the sound was sublime, intrinsically pathetic, and sometimes moving.
Debussy, but it is the jazz
With his jokes and poetry, ” inversion harmonics “, the music of Claude Debussy is certainly one of the richest. Certainly more comfortable than in his Chopin, but it is just a feeling inside, Maurizio Pollini said of the Preludes, book II, a real delight. For those of you who followed the career of the great jazz pianists (Keith Jarrret, Brad Melhdau,. Bill Evans, John Lewis), any substance that is evocative of Debussy played under the fingers of the concert pianist. Of course, there was the sound of piano, but more important still, the narrative nature and this way to go ahead. Despite works fairly abstract, Maurizio Pollini gave a part of the secret, as a secret weapon, a spirit jazz is absolutely remarkable.