by JEFF WINSLOW
Isn’t Classic all about balance, restraint, discipline, and precision? Isn’t Romantic all about eccentricity, abandon, emotion, and drama? How can one possibly show how the other is done?
In the final recital of this year’s Portland Piano International season, at Portland’s Newmark Theatre, Garrick Ohlsson showed us how it’s done in a program of quintessentially Romantic works – a selection of Charles Griffes tone paintings, two Alexander Scriabin sonatas, and Frederic Chopin’s third and last sonata.
True enough, those who crave eccentricity and abandon most of all were bound to be left somewhat hungry by Ohlsson’s straightforward and controlled approach. But that control, and the reassuring precision that went with it, was generously leavened by a fine sense of expression and overall shape that opened a window to the music’s emotional life-breath. His Classic approach created a certain perspective: that elusive and delightful illusion of the composer speaking for himself.