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By Georgina Szeless
Slowly finishing Upper Austria. Stiftskonzerten managed to Kemsmünster a grateful blow. The Canadian pianist Charles Richard-Hamelin (28) was shot on the ground and played exclusively works by Frédéric Chopin in his Austrian debut. He has won several Chopin competitions and has been able to risk this experience at any risk of a program of a stylistically difficult man. Ironically, things are a bit different with Chopin. Almost all Rang pianists have always looked for Chopin's music, but few have been able to do it justice.
Its finesse is difficult to obtain
Its melodiousness, its rhythmic finesse and its dynamic nuances oscillate between reality and dream, more or less in a world beyond the sound world, so is very difficult to open to the interpreters. Charles Richard-Hamelin is certainly not specialized, his sonatas for violin of Beethoven prove it. He relied on the virtuoso effects of Chopin's music on the Steinway (borrowed from the Brucknerhaus) grand piano, which was certainly admirable, and his technical genius also made the audience gloat. However, for poetic and poetic poems, especially in the four ballads, attention to formal values did not seem to be of much importance to him either. Posthumous Nocturne No. 20 in C-minor and Polonaise in A-flat major, Op. 53, formed a known staple for the following four Impromptus. Unfortunately, their important motives have been somewhat neglected and have hardly revealed the true content of the works through the power of the use of the pedal. Thus, the certainly not insignificant evening of a sympathetic pianist and his neither heroic nor salon music near Chopin-portrait caused mixed feelings overall. Is there or was there an authenticity of Chopin?
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