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At 25 years old, the pianist Martín García García has already given us a few joys (first prize in the Cleveland competition, third in the Chopin competition, etc.), but after witnessing his debut in Barcelona with the OBC it is clear that this It has only just begun. The man from Gijón played Tchaikovsky's First Concerto for piano and orchestra for the first time in public, and the result was simply overwhelming. Technique, emotion and absolute control of the sound story go hand in hand in its interpretation. His reading is as profound as that which a wise musician over sixty could offer, but on the keyboard he brings out the impetus of a twentysomething. At all times he perfectly mastered the climaxes and anticlimaxes of this score, offering a tension, an emotional journey that is difficult to achieve with a score so complex and at the same time so present in the programs.
Martín García appeared in Barcelona (and sweeps)
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Music:
Takemitsu, Tchaikovsky, Bartok -
Cast:
Mr. García García, piano; Ork. Barcelona Symphony (OBC). Roderick CoxDirector -
Date:
October 7 -
Location:
The Auditorium, Barcelona
The reaction of the public was according to where it was next in the script. Very long ovation that García thanked with four tips, something completely unusual in concerts such as those of the OBC, in which the soloist shares the limelight with the orchestra in the program. He therefore gave away two Chopins, a Skriabin and, above all, a Mompou of the highest level. He got the public (even more) into his pocket with the fourth of the 'Cançons i Danses' by the most Chopinian Catalan composer, which includes quotes from two popular Catalan songs, 'A la vora de la mar' and 'Dansa de Castellterçol '.
At the head of the OBC, another young promise, Roderick Cox. Born in the United States and founded in Berlin, he received the Georg Solti award for conducting in 2018, and in Barcelona he will surely be able to tackle a complex repertoire with an elegant gesture, sober but rich in details and nuances. Takemitsu's 'Requiem for Strings' extracted the most from that section of the OBC and, although in Tchaikovsky's concert there were occasional mismatches in some entrances and in the balance of shots, with the colossal 'Concerto for orchestra' by Bela Bartók exhibited the entire palette of nuances that a complete score requires. Surely the problems with Tchaikovsky had to do with the management of the always short rehearsal time and possibly results in the repetition of the concert on Saturday.
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