Reviews (Details Page)
Classical Music Guide - July 12, 2025
Written by Donald Isler
Recital by Martín García García
Schubert: Six Moments Musicaux, D. 780
Ravel: Valses nobles et sentimentales
Rachmaninoff: Four Etude-Tableaux
Op. 33, No. 9 in C-Sharp Minor
Op. 39, No. 2 in A Minor
Op. 39, No. 3 in F-Sharp Minor
Op. 33, No. 5 in E-Flat Minor
Rachmaninoff: Six Moments Musicaux, Op 16
Martín García García is a very exciting pianist whose performances I have enjoyed several times before. He is a very thoughtful virtuoso - thoughtful in that nothing is done without a plan, and virtuoso because - well, it seems nothing is too difficult for him to play with apparent ease!
He opened with the Moments Musicaux of Schubert, which he presented not as a series of short pieces with charm and, yes, some depth, but as a major work of great substance, like a late period sonata. The first piece was thoughtful, poetic, and spacious. The second started with a gently rocking feeling. The third was jaunty, whereas the fourth was serious and rather deliberate. The fifth was very fast, and the concluding piece was slow and deeply felt. At the end of it, no one wanted to break the spell, so after a short pause, Mr. García García launched into the Ravel Valses.
The Valses noble et sentimentales of Ravel are named after a group of waltzes by Schubert with the same title. The first of the eight waltzes was boisterous, the second dreamy and hesitant. The third begins in a playful, naive manner though it later becomes somewhat wilder. By contrast, the fourth was slower, and quite lovely. The later waltzes displayed, in turn, sensitivity, great energy, cascades of sound, and nostalgia. And, by contrast with the beginning, this work ends quietly. With a complete understanding of Ravel's idiom and this music, Mr. García García's performance was delightful!
The works of Rachmaninoff which Mr. García García presented in the second half of the program are not for the faint of heart (or technique!). They are hugely difficult pieces which need to be performed by a virtuoso on this level.
The first of the Études Tableux which he played was dramatic and featured a huge sound. The second one is based on the Dies Irae theme played against shifting harmonies and rhythms, and is significantly longer. The third one was daring, and had intricate right hand figurations. The fourth had fast, wispy runs and a huge contrast between delicate and colossal sounds. Once again, after a soft ending, no one wanted to interrupt the spell, so Mr. García García waited briefly, then moved into the Moments Musicaux of Rachmaninoff. These pieces may have the same title as the Schubert work by the same name, but couldn't be more different from each other!
The first piece had melancholic harmonies and whirling patterns of notes, sometimes in both hands. After the second, also with much spinning of notes came the slow third piece. This was very deep and "serious" by nature, with interesting tonal shadings. It particularly displayed Mr. García García's terrific control of very soft playing. The fourth piece was frenetic, powerful and explosive. The fifth piece was mellow. The final piece was dignified, and featured numerous modulations and a huge sound. (One actually wondered if Mr. García García was trying to figure out just how LOUD it is possible to play the piano - though he never made an ugly sound!)
Not surprisingly, the audience reacted with great enthusiasm!
Mr. García García generously played four encores.
The first was light, charming and delightful. It was the Scriabin Etude Op. 8 No. 6.
The second was the A-Flat Major Waltz of Chopin, Op. 42. I don't think I ever heard it played this fast, and light hearted before. It was terrific!
In a similar vein (and the same key!) he next dashed off Chopin's Impromptu No. 1 in A-Flat Major, Op. 29. It was both frisky and elegant!
For his final encore the Spanish pianist just announced that he would play a "Spanish work." But I was reliably informed (by knowledgeable students attending the Festival) that it was Mompou's Canzone No. 6. In E Minor. It was slow and emotional with deep feeling, then followed by a fast dance.
Classical Music Guide - July 12, 2025
Written by Donald Isler
Recital by Martín García García
Schubert: Six Moments Musicaux, D. 780
Ravel: Valses nobles et sentimentales
Rachmaninoff: Four Etude-Tableaux
Op. 33, No. 9 in C-Sharp Minor
Op. 39, No. 2 in A Minor
Op. 39, No. 3 in F-Sharp Minor
Op. 33, No. 5 in E-Flat Minor
Rachmaninoff: Six Moments Musicaux, Op 16
Martín García García is a very exciting pianist whose performances I have enjoyed several times before. He is a very thoughtful virtuoso - thoughtful in that nothing is done without a plan, and virtuoso because - well, it seems nothing is too difficult for him to play with apparent ease!
He opened with the Moments Musicaux of Schubert, which he presented not as a series of short pieces with charm and, yes, some depth, but as a major work of great substance, like a late period sonata. The first piece was thoughtful, poetic, and spacious. The second started with a gently rocking feeling. The third was jaunty, whereas the fourth was serious and rather deliberate. The fifth was very fast, and the concluding piece was slow and deeply felt. At the end of it, no one wanted to break the spell, so after a short pause, Mr. García García launched into the Ravel Valses.
The Valses noble et sentimentales of Ravel are named after a group of waltzes by Schubert with the same title. The first of the eight waltzes was boisterous, the second dreamy and hesitant. The third begins in a playful, naive manner though it later becomes somewhat wilder. By contrast, the fourth was slower, and quite lovely. The later waltzes displayed, in turn, sensitivity, great energy, cascades of sound, and nostalgia. And, by contrast with the beginning, this work ends quietly. With a complete understanding of Ravel's idiom and this music, Mr. García García's performance was delightful!
The works of Rachmaninoff which Mr. García García presented in the second half of the program are not for the faint of heart (or technique!). They are hugely difficult pieces which need to be performed by a virtuoso on this level.
The first of the Études Tableux which he played was dramatic and featured a huge sound. The second one is based on the Dies Irae theme played against shifting harmonies and rhythms, and is significantly longer. The third one was daring, and had intricate right hand figurations. The fourth had fast, wispy runs and a huge contrast between delicate and colossal sounds. Once again, after a soft ending, no one wanted to interrupt the spell, so Mr. García García waited briefly, then moved into the Moments Musicaux of Rachmaninoff. These pieces may have the same title as the Schubert work by the same name, but couldn't be more different from each other!
The first piece had melancholic harmonies and whirling patterns of notes, sometimes in both hands. After the second, also with much spinning of notes came the slow third piece. This was very deep and "serious" by nature, with interesting tonal shadings. It particularly displayed Mr. García García's terrific control of very soft playing. The fourth piece was frenetic, powerful and explosive. The fifth piece was mellow. The final piece was dignified, and featured numerous modulations and a huge sound. (One actually wondered if Mr. García García was trying to figure out just how LOUD it is possible to play the piano - though he never made an ugly sound!)
Not surprisingly, the audience reacted with great enthusiasm!
Mr. García García generously played four encores.
The first was light, charming and delightful. It was the Scriabin Etude Op. 8 No. 6.
The second was the A-Flat Major Waltz of Chopin, Op. 42. I don't think I ever heard it played this fast, and light hearted before. It was terrific!
In a similar vein (and the same key!) he next dashed off Chopin's Impromptu No. 1 in A-Flat Major, Op. 29. It was both frisky and elegant!
For his final encore the Spanish pianist just announced that he would play a "Spanish work." But I was reliably informed (by knowledgeable students attending the Festival) that it was Mompou's Canzone No. 6. In E Minor. It was slow and emotional with deep feeling, then followed by a fast dance.
Classical Music Guide
July 12, 2025
Written by Donald Isler
Recital by Martín García García
Schubert: Six Moments Musicaux, D. 780
Ravel: Valses nobles et sentimentales
Rachmaninoff: Four Etude-Tableaux
Op. 33, No. 9 in C-Sharp Minor
Op. 39, No. 2 in A Minor
Op. 39, No. 3 in F-Sharp Minor
Op. 33, No. 5 in E-Flat Minor
Rachmaninoff: Six Moments Musicaux, Op 16
Martín García García is a very exciting pianist whose performances I have enjoyed several times before. He is a very thoughtful virtuoso - thoughtful in that nothing is done without a plan, and virtuoso because - well, it seems nothing is too difficult for him to play with apparent ease!
He opened with the Moments Musicaux of Schubert, which he presented not as a series of short pieces with charm and, yes, some depth, but as a major work of great substance, like a late period sonata. The first piece was thoughtful, poetic, and spacious. The second started with a gently rocking feeling. The third was jaunty, whereas the fourth was serious and rather deliberate. The fifth was very fast, and the concluding piece was slow and deeply felt. At the end of it, no one wanted to break the spell, so after a short pause, Mr. García García launched into the Ravel Valses.
The Valses noble et sentimentales of Ravel are named after a group of waltzes by Schubert with the same title. The first of the eight waltzes was boisterous, the second dreamy and hesitant. The third begins in a playful, naive manner though it later becomes somewhat wilder. By contrast, the fourth was slower, and quite lovely. The later waltzes displayed, in turn, sensitivity, great energy, cascades of sound, and nostalgia. And, by contrast with the beginning, this work ends quietly. With a complete understanding of Ravel's idiom and this music, Mr. García García's performance was delightful!
The works of Rachmaninoff which Mr. García García presented in the second half of the program are not for the faint of heart (or technique!). They are hugely difficult pieces which need to be performed by a virtuoso on this level.
The first of the Études Tableux which he played was dramatic and featured a huge sound. The second one is based on the Dies Irae theme played against shifting harmonies and rhythms, and is significantly longer. The third one was daring, and had intricate right hand figurations. The fourth had fast, wispy runs and a huge contrast between delicate and colossal sounds. Once again, after a soft ending, no one wanted to interrupt the spell, so Mr. García García waited briefly, then moved into the Moments Musicaux of Rachmaninoff. These pieces may have the same title as the Schubert work by the same name, but couldn't be more different from each other!
The first piece had melancholic harmonies and whirling patterns of notes, sometimes in both hands. After the second, also with much spinning of notes came the slow third piece. This was very deep and "serious" by nature, with interesting tonal shadings. It particularly displayed Mr. García García's terrific control of very soft playing. The fourth piece was frenetic, powerful and explosive. The fifth piece was mellow. The final piece was dignified, and featured numerous modulations and a huge sound. (One actually wondered if Mr. García García was trying to figure out just how LOUD it is possible to play the piano - though he never made an ugly sound!)
Not surprisingly, the audience reacted with great enthusiasm!
Mr. García García generously played four encores.
The first was light, charming and delightful. It was the Scriabin Etude Op. 8 No. 6.
The second was the A-Flat Major Waltz of Chopin, Op. 42. I don't think I ever heard it played this fast, and light hearted before. It was terrific!
In a similar vein (and the same key!) he next dashed off Chopin's Impromptu No. 1 in A-Flat Major, Op. 29. It was both frisky and elegant!
For his final encore the Spanish pianist just announced that he would play a "Spanish work." But I was reliably informed (by knowledgeable students attending the Festival) that it was Mompou's Canzone No. 6. In E Minor. It was slow and emotional with deep feeling, then followed by a fast dance.
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The International Keyboard Institute & Festival is a
publicly supported 501(c)(3) organization.
Any contribution will be
greatly appreciated and is tax deductible to the full extent of the law.
The International Keyboard Institute & Festival is a publicly supported 501(c)(3) organization. Any contribution will be greatly appreciated and is tax deductible to the full extent of the law.