New generation of classical pianists steps into the spotlight
By George Bulanda
IT'S BECOME almost fashionable to join the chorus of Jeremiahs who lament the passing of the old guard of pianists and wail about today's lackluster performers. The charge is not without some merit. Conservatories tend to churn out perfect pianists who are imperfect musicians. Few are willing to take risks or put the imprint of personality on their playing. But to hear the whining of reactionaries, no living pianist is worthy of turning the pages of a Vladimir Horowitz or Arthur Rubinstein.
This broad-brush dismissal of today's pianists just doesn't wash.
Consider Martha Argerich, whose playing is ferocious, impulsive, and technically astounding. Argerich inspires fireworks the moment she walks onstage. She often cancels concerts, but temperament is tolerable from an artist this good.
Less fiery but equally artistic is Alfred Brendel. His traversal of the complete Beethoven sonatas is exemplary and his Schubert shines. He also plays Schoenberg's thorny piano concerto with the same depth he brings to the old masters.
When it comes to French impressionism, you can't ignore the young Frenchman Jean-Yves Thibaudet. His recording of Ravel's complete piano music is striking for its prismatic shifts of color and sensitivity.
Among younger pianists, no one can hold a candle to Evgeny Kissin, a 27-year-old Russian with the face of an angel and the fingers of a demon. Kissin burst on the scene as a child and has ripened into an artist of the rarest gifts. His technique is so assured that he simply has to focus on artistry--and he does so with a jeweler's concentration. Last year, Kissin made a memorable solo recital debut, tackling Liszt's sprawling Sonata in B minor and subduing the Byronic work with the skill of a lion tamer.
Murray Perahia is an aristocratic poet. Elegant but unfussy, his Mozart is pristine. And his recent recordings of Bach, Scarlatti, and Handel prove he's just as adept in the Baroque literature.
Ivo Pogorelich gained fame at the 1980 Chopin Competition in Warsaw. Martha Argerich, one of the judges, stormed out when the Yugoslav didn't make it to the finals. His playing is often exaggerated, and his tempos are stretched to the point of wild self-indulgence. But he's seldom dull.
Among the 30-something pianists, Awadagin Pratt and Stephen Hough are worthy of attention. Pratt may not be the most polished technician, but his playing can border on the sublime, such as in his lovely interpretation of Brahms' E-flat Intermezzo. Hough takes an intellectual approach that's never dry or academic. His Liszt is revelatory, but he probes the offbeat literature as well.
For sheer energy, the dexterous Jon Kimura Parker is nearly unbeatable. He's even been known to play jazz great Art Tatum as an encore.
The young Norwegian Leif Ove Andsnes has a big, brawny sound and the stamina of a bull. His Prokofiev is charged with vitality.
Grigory Sokolov has made a name in Russia, but he's starting to make waves here. Garrick Ohlsson is rightly praised for his Chopin, but his flawless handling of Liszt, Rachmaninoff, and Busoni is also commendable.
There are some terrific pianists from the past, but there's no time like the present to appreciate today's stellar crop.
From the April 22-28, 1999 issue of the Sonoma County Independent.
© Metro Publishing Inc.