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mer, 02 febbraio 2011 17:48

Zaz!
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Articolo di ieri sul Financial Times
(mi scuso se copincollo, ma non c'� link, il FT completo � a pagamento)

Maurizio Pollini

By Richard Fairman

Published: February 1 2011 18:19 | Last updated: February 1 2011 18:19

Royal Festival Hall, London

One participant in this recital was making a debut appearance in London and
it was not the pianist. Maurizio Pollini has been a regular visitor to the
city for the best part of 40 years, but his new piano - a Steinway concert
grand modified by the Italian piano technician Angelo Fabbrini - was making
the journey for the first time.

This was the opening event of the "Pollini Project" in London. Originally
conceived back in 1995 for Salzburg, the concept has been reformulated for
various cities since, but each time Pollini devises a series of recital
programmes that offer an overview - dare one say summation? - of his
artistry. In London, this means five recitals in the next five months,
spanning 250 years of the piano repertoire.

He began on Friday with Bach, not a composer Pollini has played here often.
His ability to distil the intellectual essence of the first book of Das
wohltemperierte Klavier was never in doubt, but without the recreative fire
of Tatyana Nikolayeva or the varied insights of specialist Bach players such
as Andras Schiff or Angela Hewitt, would he have enough to say?

The evening did not begin well. The audience was restless and Pollini could
not resist humming along with the tenor entries in the fugues. The sound he
drew from his Steinway-Fabbrini was strikingly lucid, but in the faster
music he kept setting hasty speeds that were too rigid and left him
scrambling to fit in all the notes. It was midway through the first half
before he cast any kind of spell: the E flat minor Prelude sang with a
chaste cantilena that could only have come from an Italian.

From there the recital aspired to a higher level. In smaller pieces, at
least, the ever cool, rational Pollini showed how observing from afar might
bring simple but penetrating insights. The G minor Fugue found a barely
tangible softness at its centre, the B flat major Prelude a crystalline
beauty; but, while a piece such as the great B flat minor Fugue aimed for
understated power, like all the longer movements it ended up plodding
dogmatically to its conclusion. This first instalment of the "Pollini
Project" sometimes felt more like duty than pleasure.

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--
�Ce qui concerne le go�t ne doit nous occuper que lorsque nous poss�dons
parfaitement le fond�
J. Ph. Rameau

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