Since his triumph as winner of the 1970 Chopin International Piano Competition, Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess.
Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Mr. Ohlsson commands an enormous repertoire, which ranges over the entire piano literature. A student of the late Claudio Arrau, Mr. Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him.
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Join Garrick Ohlsson on December 17 for Part 2 of his livestream series celebrating Beethoven’s 250th birthday. Hailed as one of the leading Beethoven interpreters of the 21st Century, Garrick’s two-part series focuses on the stylistic innovation in Beethoven’s 32 Sonatas. In this episode, he will take an in-depth look into two sonatas. Mr. Ohlsson was the winner of the 2007…
Join Garrick Ohlsson in this first installment of a two part livestream series celebrating Beethoven’s 250th birthday, focusing on stylistic innovation in the 32 Sonatas. Watch it on Tonebase.
The New Century Chamber Orchestra is slated to release a series of six recorded musical performances featuring its artistic director, violinist Daniel Hope; members of the orchestra; and notable local guest artists. The half-hour episodes will be filmed in San Francisco and streamed daily for free from Wednesday, November 18, until Monday, November 23. The series is part of “[email protected] – Next…
Garrick Ohlsson returned to The Conrad in downtown La Jolla Saturday, November 9, to play another all-Brahms piano recital. With his evident affection for the repertory, his superlative technique, and his insight into what makes Brahms’ piano music distinctive, his recital also turned into a graduate level master class for anyone who plays piano or has ever studied the instrument.
“From Brahms’ early Piano Sonata No. 3, Op. 5, and the Variations on a Theme of Paganini, Op. 35, Book II, to the mature Op. 79 Rhapsodies and the Op. 116 Fantasies, Ohlsson’s every phrase illuminated important aspects of this rich body of piano music, amplifying the sheer joy of experiencing Brahms played with such command and panache.” San Diego Story
Ohlsson used his pianistic soft power — a commanding technical arsenal deployed with judicious restraint — in the service of Beethoven’s penchant for insistence, pushing the first movement’s boil of trills and passagework to the foreground, making the slow movement’s pleas hushed and voluble by turn.
“Ohlsson used his pianistic soft power — a commanding technical arsenal deployed with judicious restraint — in the service of Beethoven’s penchant for insistence, pushing the first movement’s boil of trills and passagework to the foreground, making the slow movement’s pleas hushed and voluble by turn. By the rambunctious finale, ensemble and soloist were on the same quirky page,…