San Francisco Classical Voice

Generosity of spirit and a consistent level of excellence characterized pianist Garrick Ohlsson's recital at the First Unitarian Universalist Church last Sunday. A San Francisco resident and well known as one of the major pianists of our time, Ohlsson's program was a benefit for two deserving local community-based organizations, Axis Dance Company and Able-Together.

Ohlsson is among the most deft of contemporary pianists. Considering the acoustics at First Unitarian and the surprising brightness of the Steinway, he is one of the most astute as well. Tempo choices were the outcome of mediation between a difficult, diffuse hall and a pianist of extraordinary technical prowess and artistic intention.

In the opening Beethoven Sonata in Bb Major, Op. 22, Ohlsson took an unrestrained and unpretentious approach to the Allegro con brio first movement. His is a genial, easy classicism. While the Adagio and Minuetto were on the verge of being dangerously too slow, the quieter sections of these movements were especially lyrical and sensitive.

In the Liszt Sonata in B minor which followed, Ohlsson's depth of tone and pianistic naturalness were combined to produce a mesmerizing, transcendent performance. This was theatrically dramatic playing of a high order, never contrived and without a hint of banging. An occasional passage was washed away, but Ohlsson's emotional temperature was so feverishly high that he projected the wide range of character and transformation of musical material in spite of the acoustic encumbrances.

The second half was devoted to works by Chopin, with varying degrees of success. Ohlsson is currently recording the complete solo worksof Chopin and has a magnificent pianistic ease with this repertoire, but at times it was too much of a good thing. Ohlsson's technical prowess allowed him to do more than the music itself suggests.

A wide, almost precious, dynamic range in the second Scherzo in Bb minor, Op. 31, resulted in distortion of the structure. Ohlsson would have done better to accept this Scherzo as a beautiful piece in every way except structurally. There was such natural flow and continuity in his playing that the cloying extremes of pianissimo were especially regrettable.

The rarely played Allegro de Concert, Op. 46, originally intended to be a third piano concerto, was presented with bravura, finesse and unforgettable double thirds. Ohlsson's performed the three Waltzes, Op. 64, with lightness and convincing individuality, especially when previously unheard voices spoke through with charming unpredictability. The Nocturne in C minor, Op. 48 No.1, had an otherworldly gravity and quiet melancholy. This sobriety of approach contrasted to great effect with the Waltzes that preceded.

Garrick Ohlsson plays with the utmost of ease, with a rich sound and emotional integrity, and the combination is artistically powerful. To present these talents in service to the community as he did, is downright noble-minded.

(John McCarthy is a pianist and teacher. He is Director of Preparatory and Extensions Divisions at the San Francisco Conservatory of Music)

©1999 John McCarthy, all rights reserved