Recital by Martín García García

Martín García García - IKIF

26th International Keyboard Institute and Festival
Merkin Hall, New York

July 12th, 2024

Chopin: Polonaise-Fantaisie in A-Flat Major, Op. 61
Chopin: Impromptu No. 3 in G-Flat Major, Op. 51
Chopin: Impromptu No. 1 in A-Flat Major, 29
Chopin: Impromptu No. 2 in F-Sharp Major, Op. 36
Chopin: Fantaisie-Impromptu in C-Sharp Minor, Op. Posth. 66
Chopin: Sonata No. 1 in C minor, Op. 4
Mompou: Variations on a Theme by Chopin
Albéniz: La Vega
Albéniz: El Polo from Iberia (Book III)
Albéniz: Lavapiés from Iberia (Book III)

Martín García García is an exciting young Spanish pianist whose recital at the Festival two years ago made a sensation. By now he has played more than 80 concerts worldwide (in Europe, Asia and the United States). He has also won some big prizes, including Gold at the Cleveland International Piano Competition, and Third Prize and Special Award for the Best Concerto Performance at the 2021 International Chopin Piano Competition in Warsaw.

As he began the Chopin Polonaise-Fantaisie I had a feeling I get once in awhile at concerts, ie if his playing is this good, and this interesting, I'll probably like the way he does everything else! And that was largely true. After the strong opening chords, he took time to play the following quasi-recitativo notes slowly, not pro forma. There was gentleness, and sensitivity to harmonic changes. He also took time to play the B Major section with intention, but produced a big sound where desired, like at the brilliant conclusion. Indeed, he played like a thinking man's virtuoso.

After this work, he explained to the audience that a damper (for a low F, I believe) wasn't working properly, ie it wasn't stopping the sound of the note when he let go of the key. Several people came up onto the stage to discuss the situation, including Jerome Rose, who did something to it so that the piano functioned better. (During the intermission a technician took the whole action out and worked on it, which partly explains why the concert went on quite late!)

Mr. García García next played the Chopin Impromptus in the following order: 3, 1, 2, and then 4 (the Polonaise-Fantaisie).

For this listener the tempo of the main theme of the Third Impromptu was a bit too fast to enjoy the richness of the tonality of G-Flat Major, and the harmonic writing in the right hand. But the slower middle section in E-Flat Minor was really beautiful.

The First Impromptu scampered along merrily, though the F Minor middle section was slower, and thoughtful.

The Second Impromptu was quite slow and expressive. Mr. García García really knows how to sculpt a melody! And the coda rushed along with fast "sprays" of notes.

The Fantaisie-Impromptu was quick and swirling, until the lovely slow section in D-Flat Major.

At the conclusion of this work the audience applauded with great enthusiasm.

The first half of the program concluded with the First Piano Sonata of Chopin, the sonata that "no one" plays. Well, almost no one, though I believe I heard Shura Cherkassky play it once, and Robert Goldsand recorded it many years ago. It’s not generally thought to be on the level of the Second and Third Sonatas but is quirky, "different" and worth hearing. Mr. García García launched into it with plenty of energy and played powerfully, but also brought out the witty aspects. The second movement was charming, and the trio section in E Minor was reflective, but for the loud part near the end. The third movement, in A-Flat Major, is unusual, as it's in 5/4 time. It has a nocturne-like feeling, and a lovely, florid, sometimes ornamented melody. The finale is fiery from the start with fiendishly difficult passagework, some of which reminds one of ideas Chopin used in his concerti. Mr. García García played with great articulation and produced a huge sound.

The Mompou work was originally written as a cello and piano piece for the composer to play with cellist Gaspar Cassadó. After going through several incarnations it was completed in 1957 as this theme with 12 variations. It charms in many ways! The first variation adds a richer harmony to the original theme (which is the Chopin Prelude in A Major, Op. 28, No. 7). The second variation is flirtatious, followed by the third, which is a mazurka. The eighth variation has a sweet and very expressive melody. The ninth turns the theme into a waltz. The twelfth variation is hectic and intense, whereas the epilogue is a reprise of the original theme in a dreamy haze, with moments of subtlety and beauty.

The Albéniz pieces were all brilliantly played, with great panache and virtuosity. La Vega had an intense melody and swirling notes that seemed to "ride a wave," complicated figurations, and a soft ending. El Polo was both extravagant and playful, witty and intense, ending with a huge sound. Lavapiés was explosive, with sparks and accents flying.

As many of us, unfortunately, don't know this music well, and as the program did not describe the offerings as clearly as is shown above, and as La Vega is rather long, some thought that on its conclusion, Mr. García García had completed the entire group. And wondered why he immediately sat down and played two more pieces (!). This was later made clear.

But at that point in time I wished I could consult with the late, lamented Joe Patrych, friend of almost every pianist in New York, on whose encyclopedic knowledge of piano repertoire Gary Graffman once commented "He knows everything!" So it was a lovely surprise when Mr. García García dedicated his one encore, the Liszt transcription of the Schumann song "Widmung" (which means "dedication") to Joe. And played it beautifully!