by Phillip Dieckow
Concert Pianist, Teacher, Critic for Pinault Review
Sunday, February 9, 2003
Carnegie Hall
I really don’t think it possible for me to write a “review” of a
concert by this artist. We have been friends for over three decades
and from the beginning to the present she has topped my list of
world-class pianists. So how can I find any sort of objective
distance? I can’t. But I can assume a critic’s freedom and write an
“Impression” or “Tribute” to this stunning artist based on the
February 9th concert.
A poor man’s definition of “transcendental” is “that which defies
description”. In terms of technique, no better definition exists for
Dr. Bottazzi’s technical skill. In the many, many concerts I have
heard her give, difficulty does not exist. Of course, we all know
that thousands of hours of practice and superb trainings lie behind
that statement (plus a pretty massive dose of genetic gifts), but
where a majority of artists are defined by their “technique” Dr.
Bottazzi is defined by it never being an issue.
“Phrasing”, that curving off at the end of each musical phrase, has
become something I long for in a pianist’s playing. I would like to
think, in the many years of hearing Dr. Bottazzi play, that my
hearing has become more acute. It doesn’t take too much to break my
heart. Gently closed phrases at the end of significant sections is
enough to get my attention. The last few concerts I have heard from
this artist have left me speechless and heartbroken. EVERY phrase,
whether two-note, three note or sectional is lovingly tended. This
kind of attention to phrasing detail has probably always been in Dr.
Bottazzi’s playing but perhaps I have just grown to hear and
appreciate it fully. Perhaps a better description would be a family
with one natural child and one adopted child. A truly caring family
will be just as attentive and caring for the adopted child as the
natural child. Dr. Bottazzi cares for her little “phrase children”
just as lovingly.
The sweep and flow of the music, the heartbeat, is often lost
because the artist is unable to handle a proper tempo. That is never
an issue with this artist and the delicate balance of contrasting
motives never misses the target. No motive is every repeated the
same way. No motive is ever neglected or swallowed up.
I hear sound in terms of color. “Rolling, sonorous tone” and
“exceptionally full and beautiful tone” don’t even come close to
describing the seeming endless tonal palette of this artist. So many
of the melodies that are usually buried beneath technique come to
life at Dr. Bottazzi’s hands by her ability to give a different
“color” to these neglected melodies. They never intrude but they are
there, alive and vibrant within the main texture.
There is a delicacy of “finish” in everything Dr. Bottazzi plays. No
matter how tumultuous the passage work, there are no rough edges. I
have often wondered where this comes from. This sort of thing cannot
be “learned” except on an elementary level.
To explain a supremely gifted artist is probably a waste of time. We
must hear them and love them for the life and love they have given
to their art.
The concert consisted of two Scarlatti Sonatas, supreme examples of
the use of color, sweep and flow and delicacy described above.
Second on the program was the Beethoven “Appassionata” Sonata, Op.
57. Here the sweep and flow and effortless handling, of the
thousands of notes, were overwhelming.
The Schumann “Carnaval”, Op. 9 was a delightful escapade through the
alternating whimsical and passionate examples of Schumann’s psyche.
The contemporary work, Kutnowski’s “Lullaby for an Ancient
Grandfather” was a lovely work, made even more so by the artist’s
loving use of color and phrasing.
The Chopin section, always a treat at these concerts, was no
disappointment. The E Flat Major Nocturne, Op. 9 No. 2 gets more
beautiful with each performance or perhaps I hear more beauty in it
every time Dr. Bottazzi plays it; the gently lilting 3rd Ballade in
A Flat Major, Op. 47 brought to mind a lovelier time; the Grand
Valse Brilliante in E Flat Major, Op., 18 was just that. The program
concluded with the Andante Spianato and Grand Polonaise Brillante,
Op. 22. In my opinion there is not pianist alive who captures the
joyful lilt of this sparkling music.
The two encores: first was the Liadov “Music Box” (always a supreme
delight) and the final encore the massive Polonaise in A Flat Major,
Op. 53 (bristling with heroism and unusually stunning octaves).
The audience was joyously demonstrative with numerous standing
ovations and bravos sprinkled throughout. |
