Monday 5 July, 1999 Victoria Concert Hall	6th International Piano Festival 'Celebrating Chopin'
	Rachmaninov Variations on a theme of Corelli, Op.42 Schumann Fantasie in C major, Op.17 Chopin Twelve Etudes, Op.25 Encores: Elgar Salut D'amour Johann Strauss Frühlingstimmer Chopin Waltz No.7 in C-sharp minor Op.64 No.2 Chopin Minute Waltz Artur PIZARRO piano

OVERALL NOISE RATING: 1 (Except for my G-Shock going off at 10pm, a truly quiet and appreciative crowd - true pianophiles on a Monday evening.)

The Noise Rating Index is a partially-objective measurement of pager and handphone blasts, 9pm and 10pm watch beeps, coughing-during-the-pianissimo-bits, intra-audience conversation and other mind-bogglingly inept noises emitted in the concert hall during actual performance of music. It is measured on a scale of 0 to 5, in increasing annoyance.

This review has been kindly sponsored by the Singapore Symphonia Co. Ltd

The third day, as pointed out in my Pizarro review (Piano Fest 1998 - reviewed here), has always had something special to offer. Pizarro, opting once again to play on the third day of this year's festival, literally stole the show from his two comrades Alexeev and Piers Lane the days before.

Prior to going to the concert I had listened to Alfred Brendel's rendition of the Schumann Fantasie. While I often try not to do this - as this may give me set views on what to expect of the performance - I knew that Monday night would be different, judging from what happened the previous year. Pizarro has changed - but only physically - having lost a couple of pounds, sporting a semi-shaved beard and a short hair cut in the likes of George Michael, he smiled on his entry in front of the awaiting pianophiles. (The picture on the left, apparently, is not Pizarro. Not exactly anyway.)

Pizarro opted once again to play with score; this is something I have come to appreciate and realise to be of great importance - not because the pianist fears not remembering all the notes but the fact that his interpretations are now closer to the score. Those who have learnt something by heart often have had their ideas fixed, eg. the fortissimo on page 3, bar 110 of the first movement will be permanently etched in his mind. Ironically, with the score in front of you, changes come across more because as the music constantly evolves, and as moods and thoughts change, a pianist is able to bring new light into the work beyond the printed notes he is presented with.

Rachmaninov's "Corelli Variations" begins with a hauntingly elegiac opening and Pizarro immediately set this mood. His special attention to phrasing shows, especially in a 'live' concert such as this. And the difference shows - Pizarro has this ability to hold on just a bit longer to bring greater emotion to the composer's utterance. While some may disagree with the pianist on this, I have to say that I was enthralled by the interpretation. His fortissimo staccatos were played with such ferocity, but always with iron-clad control. While there was this control in his playing, the sense of abandonment and uninhibited, elemental vision was never lost in his interpretation.

Pizarro's sensitivity in the higher registers of some of the variations brought out a certain sense of introspection that we have come to appreciate in Rachmaninov. If only it were possible, it would have been nice to have heard what the composer would say upon hearing these variations. The melodic line with accented crochets were powerfully underlined, while descending drops or arpeggios were unleashed and catapulted down with ease. Pizarro's ability to bring out the best in the SSO's Steinway was clearly evident that we still have a piano that can work in the hands of the right person.

Robert Schumann's Fantasie in C major is a 30-minute work which needs a sensitive player and audience; it is not enough to just hear the work without understanding a little bit of the music, even if you cannot read the score. The love Schumann had for Clara Wieck was given its highest manifestation in his music, despite their tumultous relationship - the thoughts of lingering love and wanting to be united were always in his (Schumann's) mind.

With his Merlin touch Pizarro was able to transport the listener into this state of mind and heart, and make you feel Schumann's pain, his anxiety and his love for Clara. This was especially seen in the second movement. But the whole piece in its entirety was marked not only by Pizarro's technical prowess but by his strikingly wide range and sophisticated variety of technical color. Right through this piece his expressive gestures coupled with his elastic tempi made everything so interesting to listen to. I somehow felt that every crescendo or diminuendo obeyed an unmistakable interpretative logic which was instinctively his. Mr. Pizarro, please record this piece - your experience playing this has got to be shared with others who do not have an opportunity to hear you 'live'.

Our tiny shore unfortunately has not had the opportunity to hear the Op.25 Etudes in its entirety played by any pianist. On the morning of the concert I had tried to follow the score to all twelve and I have to say that some of them have tempi as fast as the eyes can dart. These studies seem truly exercises in the hands of Pizarro and one can automatically tell that they have been in his repertoire for a long time. The equality of his filigree was always precise and it is not long into the pieces that his perception registers. My personal favourites have always been the last three Etudes. No.10 in B Minor with its ghastly demonic octaves were pulled off with such speed and rock-solid security that one never felt that a mistake would occur. All elements of violent fury and temperament were exhibited - pity the page-turner who watched the score attentively and watched Pizarro for his cues seemed rather nervous. The last two in A minor and C minor were performed with consummate ease and finesse - works I have only dreamed of hearing 'live'.

6th International Piano Festival 1999 July 3 - Dmitri Alexeev July 4 - Piers Lane July 5 - Artur Pizarro July 6 - Nikolai Demidenko Click on name for Inkpot review.

For the encores, Pizarro picked a wide array of works ranging from Elgar to Johann Strauss, and not forgetting Chopin. By this time there was nothing to prove - he had done it all; the audience just wanted to hear more and made it a point to shout for it as well. His parting encore, the "Minute Waltz" was apparently played for the first time in Singapore, according to Chang Tou Liang, one of the contributors to the well- and easily understood notes in the programme.

After the concert, I personally asked Mr. Pizarro if he would come back to play a concerto. Organiser of the Festival Goh Yew Lin asked him to play the Scriabin Concerto - and he said he would love to. There is once again something to look forward in the coming seasons. My parting words to Mr. Pizarro - next year, Bach's 250th anniversary, please return to play for us some Bach.

Johann D'Souza enjoys reading about people who live lives like hermits - he has this fascination for silence.

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520: 7.7.1999 ŠJohann D'Souza

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