Notes and Editorial Reviews
"Garrick Ohlsson’s performances of these wonderful pieces are rarely over-controversial, but many of his interpretations have a hard-hitting quality which has the notes ricochet off your walls. I quite like most of these; Ohlsson combining his pianistic fireworks with some wonderfully expressive moments of balance and repose. He doesn’t hit us over the head too hard and too often, and utilises his wide dynamic range to tease and cajole the little dramas and poetic corners into our awareness by stealth. There are a few works where the sense of extreme rubato might seem too mannered.... In his booklet notes Jeremy Nicholas mentions the encounter with Chopin and Meyerbeer, in which the latter composer was convinced Chopin was playing in
2/4 rather than 3/4, so extreme was the composer’s own rubato, so who am I to complain about Garrick Ohlsson’s performance style. There are some pure nuggets as well. Op. 17 No. 3 for instance, which holds a strange intensity in its minimal means, Ohlsson’s performance reminding me of something from Janacek’s ‘Overgrown Path’. Op. 17 No. 4 immediately following is an example of what you might love or hate about these performances; the left hand sometimes pushing forward, even giving the impression of being in front of the melody at times, and restless -- not boringly square by any means, but determined to defy stability where expressive doodling will do."
-- Dominy Clements, MusicWeb International
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