To present Maria Gabrys

Here's a theory, probably in large part false, but perhaps not completely: the program of a disc or a recital is a good predictor of not only the personality of an interpreter (tell me what you cheeks ...) but its value. Just look at the draft this album (the last Schubert, Brahms last, the last Chopin): we understand not only what kind of pianist Maria Gabrys (who was born in Warsaw), but also what expect from her. The theory takes the test, at least this time.

Maria Gabrys has chosen a "historic" instrument, a piano Blüthner 1874. A venerable museum piece? In fact, the range of colors obtained by the interpreter makes full approve the choice -see low rumbling in the episode of the second agitated Klavierstück Schubert. Quickly, it is the personality of the instrument, and we understand why the pianist uses them to make this music the intimate. It is less finally to project ourselves in the past that remind us all that separates us from a bygone era.

A little wiser, recording three pieces of Schubert is yet more captivating than recently Yulianna Avdeeva. But the op. 118 Brahms seduced more. The atmosphere is not to gloom or resignation and the six pieces really appear as a cycle, six explorations of the same aesthetic and sentimental landscape, six fragments of the same stream of consciousness. Everything is there to admire, but perhaps especially the mysterious Intermezzo op. 118 No. 6, which brings us to the shores of an incredible musical world. Maria Gabrys itself says each of these parts in the manual (German, English) a very illuminating manner. I had recently enjoyed the disk Perahia in the same music (Brahms:.. Handel Variations Op 24 - Rhapsodies Op 79 - Piano Pieces op 118 and op 119Sony..), But when you listen to this delicate interpretation, devoid of sentimentality, there is immersed and not think about anything else.

Maria Gabrys had already devoted a disc Chopin, his premierGabrys Maria Klavierwerke. It confirms with three Mazurkas -op. 67 No. 2, op. 67 No. 4, op. 68 No. 4 (the latter played as Chopin was left unfinished), as with the brief Largo placed at the end of the program, it has affinities with that directory. We would like the waltz or the Preludes in the same fingers, and clearly, this very concerted drive is not just a recital of more and asks a suite.