08.

Press

SummerFest opening concert

Warm and stately, yet chockfull of craft, the Variations were masterfully played by Ohlsson and Barnatan. Well matched in tone with perfect coordination, theirs was a joyful performance.

“Where would SummerFest — indeed, all chamber music — be without Brahms? His Variations ended the first half, as if to show those Russian composers, “This is how you write a theme and variations!” Warm and stately, yet chockfull of craft, the Variations were masterfully played by Ohlsson and Barnatan. Well matched in tone with perfect coordination, theirs was a joyful…

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TSO Shines With Moussa Premiere & Garrick Ohlsson In Emperor Concerto

This was an elegant interpretation of the substantially heroic score, with burnished rather than vehement double octaves in the first movement.

“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…

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World of Piano Competitions: Working with a millipede

Back in 1970 you could easily distinguish between pianists and which country they came from based on playing styles and typical musical and technical manners. Now it’s virtually impossible.

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…

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Chopin Recital in Houston

Ohlsson spun out the main tune in clear, serene phrases, then made the sprawling middle section into eloquent play of shifting colors and ardent snippets of melody. The finale was a headlong burst of virtuosity.

“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…

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