piano online - the magazine of steinway in austria
TRANSCRIPT
7/14/12 PIANO Online ‑ The magazine of Steinway in Austria
1/2www.klavier‑online.at/bartowels.php
15/07/2012
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Tzimon Barto
The pianist at the piano
CD with works by Rameau
CD with works by Ravel
Tzimon Barto in Wels Once again a world star is among the pianists to Round Table 6after catf ish. After the bri l l iant success in his f irst appearancein 1990 and the resulting high expectations of themselves, manythe question: Wil l he sti l l , to inspire his audience this question is immediately answered: Yes. And how!
A real "ear opener" are the same at the beginning of four pieces from JeanPhilippeRameau , forcing the listener from the first minute to the attention. They are anythingbut "entrypoint", which is utilized to bind themselves to the room acoustics, thepianist, his neighbors and the seat available "leg" (or not) to get used to. So few tones,consciously articulated and designed agogically, so delicate and captivating play at thesame time, immerse directly into the fine piano music.
Contrast to them is followed by a fireworks display of youth and strength: three piecesof young composers Patricio da Silvia (Austrian premiere). Percussive rhythms andrepetitions (1 piece), followed by soft, almost sensual harmonies and melodies (2pieces) and roaring breakers, which pushes the boundaries of the wing and the cover by the powerful jumps between bass and treble, and the strong emphasis individualsounds menacing rockers brings the strong (3 pieces).
According to these innovative, contemporary pieces of work Brahms' PaganiniVariations , almost like a "popular songs". Barto is working out the various moods ofthe variations wonderful and moving again in a wide range of the finest sparkling pppand Diskantpassagen to extremely strong bass and keyboard acrobatics in the rush ofspeed, at which his fingers seem to get even. In the transitions of the master pianistcreates color change easily from one mode next.
There are pianists who play, and there are pianists who bring a piano to "fly". TzimonBarto is one of those. And it has a beautiful "flying" Steinway has at his side, even thequietest of tones to the last row of the bears acoustically rather dry Welser citytheater. Just a pity that some audiences are noisier than Huster Bartos fine stop.
After the break, the same effect as at the beginning: his interpretation of Ravel's'"Mirrors" takes the audience caught immediately. Compared with the interpretation ofOleg's corn 'only three months earlier at the same point Tzimon Barto need not fear.Dynamics change, he performs with scarcely perceptible motion changes. No grandgestures. But great effects. dreamy, sad, exciting, fiery, fun all the moods will passthis on purpose. Merely turning over the notes between the individual sound images issomewhat disturbing.
In "The Valley of the Bells", he can then bubbled the melody almost shy andunspectacular sets the chord progressions in a row. The Huster in the room are silent.Silent reverence for the composer and his voice. The final chord, he sends out into thehall and let him forever linger long. Thank God a sophisticated audience no one clapstoo early into this tension. Respect and sympathy for the pianist to be felt in turn.
After the final piece of the "Andante and Polonaise Op 22" by Frédéric Chopin recitesBarto, who is not only a pianist, writer and bodybuilder, but also five languages including German fluent, as adding a selfpenned poem. A feast for the eyes andears! The played with wit "Hungarian Rhapsody No. 2" by Franz Liszt is a fittingconclusion for this evening. A rapid Tom & Jerry chase that ends in a big way.
The friendly American smiles and leans satisfied during the prolonged applause at theSteinway, the hand resting appreciatively on the wing. The fact that this concert seatsremained empty, is actually a minor scandal and a failure for those who were notthere!
What remains is respect: Impressively, the combination of so much muscle power, yet so much delicacy!
Curriculum vitae
Tzimon Barto presented to a worldwide audience always dynamic and enthusiasticcommented concerts. Since his appearances as a conductor at the Spoleto Festival, and as a pianist at theVienna Musikverein and the Salzburg Festival at the invitation of Herbert von Karajan,he appeared in Europe, USA and Asia, with almost all leading orchestras and is theonly American of the younger generation on an extraordinary career on both sides of
More info
www.tzimonbarto.com
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7/14/12 PIANO Online ‑ The magazine of Steinway in Austria
2/2www.klavier‑online.at/bartowels.php
the Atlantic look. For his idiosyncratic piano recitals, he is as welcome as a chambermusician. Born and raised in Florida Tzimon Barto. He began his piano studies under theguidance of his grandmother as a Fiveyearold learned as a teenager at the MusicFaculty of the 'Rollins College' / Orlando 'Brevard Music Center', studied from 1981 to1985 York on the New Juilliard School of Music and was a student the legendaryKlavierlehrin Adele Marcus. He won the 'Gina Bachauer Piano Competition' in twoconsecutive years, for his achievements as a young conductor, was the TanglewoodInstitute as 'Most Outstanding Student' award and worked as a 'coach' and 'conductingfellow' on 'American Opera Center'. Tzimon Barto is a musician and writer. His first book, the 30 poems, an excerpt fromhis 3667 segments 'heavy' body of work includes ('The stelae'), 'a woman of Greek origin' was released in 2001, further publications are planned. Hespeaks five languages, reads ancient Greek, Latin and biblical Hebrew and studiedMandarin and Farsi. He is married to the painter Gesa Barto and father of a son, Ori.
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