“The certified masterpiece of the evening, Beethoven’s “Emperor” Concerto, came after intermission… Garrick Ohlsson, an American veteran, flew in, along with his customary polish and near-spotless virtuosity. This was an elegant interpretation of the substantially heroic score, with burnished rather than vehement double octaves in the first movement. The Adagio was taken…

If today there are hundreds of piano competitions worldwide, the number was far more limited in 1970, and the very important ones could be counted on the fingers of one hand. Today’s internationalisation, the increasing number of competitors and the big competitions’ tremendous outreach out has completely changed the cultural scene. “Back in 1970 you could easily distinguish between…

“The concert’s sole sonata—the Sonata in B minor—gained a near-symphonic scale. The first movement embraced turbulence and punch as well as Ohlsson’s richest, silkiest lyrical playing of the night. Other hands have given the dashing scherzo more quicksilver precision, but Ohlsson made it red-blooded and exuberant. In the Largo, Ohlsson spun out the main tune in clear, serene…

Ohlsson played with an intense tenderness, striking the keys with finality but also gently. […] Ohlsson’s lullaby encore, the second movement to Beethoven’s “Pathetique” piano sonata, was a fitting end to a long-needed reunion. The Atlanta Journal-Constitution

“Ohlsson is justly acclaimed as a titanic force at the keyboard. At moments over the years, listeners have practically needed seatbelts. On this occasion, however, he was a subtle presence, a weaver of gossamer musical fabrics and a wellspring of humble and seemingly effortless virtuosity. He approached the concerto not as a solo showpiece but rather as an outsized work of chamber music. At…

“He understands that merely delivering a clean, efficient exposition of the notes Brahms put on the page is only half the battle, that the interpreter must search out the expressive meaning in and between the notes if this sometimes elusive music is to reveal its full essence. Above all, he never made piano writing that feels ungainly to the fingers sound ungainly to the ear.” Chicago…