As of: February 15, 2024, 12:00 p.m
By: Volker Camehn
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Virtuoso: The Spanish Marta Zabaleta opened the “pure classical music” series of the Isartal Concert Association.
© Hans Lippert
Marta Zabaleta plays the Isartal Concert Association's first subscription concert of this year, less a piano recital than a virtuoso show of strength in the well-attended Loisachhalle.
Wolfratshausen – Henri Bonamy, artistic director of the concert series, brought the Spaniard to Wolfratshausen.
What the two have in common is that they studied in Madrid, although not at the same time.
“A great pianist,” enthuses Bonamy.
Spaniard dominates the wing
“Música Española” sounds quite general at first, almost like an understatement, but the following two hours are a constant effervescence and withdrawal, sometimes even a form of violence.
Silence is not an option here.
Zabaleta literally dominates the black wing, but she doesn't subdue it.
Respect for the instrument, sometimes hard, sometimes heartfelt, the black piano doesn't subordinate itself, but it allows its player to do her best.
Program is dedicated to pianist Alicia de Larrocha
Marta Zabaleta dedicated the program to her teacher, the Spanish pianist Alicia de Larrocha - who died in 2009 - and features works by Isaac Albéniz, Enrique Granados and Manuel de Falla, among others.
They are all among the innovators of Spanish music.
She has two pieces by de Larrocha herself in the program.
Also read: The program of the Isartal Concert Association 2024
Zabaleta begins powerfully and fragilely with a sonata in B major by Manuel de Nebra.
It almost seems as if she is initially cautiously approaching the atmosphere in the hall, the repertoire, what is to come - come, big, black grand piano.
Determined, unpretentious in attack, brisk, sometimes playful in the phrasing, a thunderstorm of octaves.
Intricate rhythms and constant changes of tempo, sometimes etude-like - the more technical challenges, the more comfortable the pianist seems to feel when her hands are allowed to do somersaults.
Magical moments for the audience
Unmoved and not shaken, a furious keyboard dance, sometimes nimble, sometimes melancholic and tender, then again a thunderstorm of sound.
And at some point you ask yourself: Is this woman practicing for her concerts?
Or is she training?
On this evening, the audience will witness almost magical moments, namely whenever something powerful becomes powerful.
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Nevertheless, the virtuoso can also tire at some point if it is in excess.
Marta Zabaleta knows this exactly, which is why the last encore – “Oriental” by Enrique Granados – is supposed to be the actual atmospheric climax;
a kind of dance-like melancholy in C minor.
So open your eyes again.
The silence afterwards is almost unbearable.
Volker Camehn
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