Extraordinary pianist Dubravka Tomšič has mesmerized audiences for decades, and this past Sunday was certainly no exception. She visited the McAfee Center in Saratoga for a lush and colorful recital featuring two Beethoven Sonatas and Four Chopin Ballades. 

Tomšič’s presence was instantly known when she stepped on stage in her sparkly, Grecian goddess-like gown. She greeted the audience very seriously, without any pretentious smiles. After bowing and adjusting her chair, the listeners noticed that she had a cold (judging by the handkerchief she kept on the piano and by her coughs between movements and pieces later on.) Nevertheless, what came next would give absolutely no hint of her being the slightest bit ill. 

Starting the concert off with a bang, Tomšič played Beethoven’s Op. 31, No. 2 Sonata, a piece appropriately named “Tempest” for its tumultuous and passionately-explosive effects, especially out of the ordinary for Beethoven’s early to middle compositional period — although one that did not yet reach anything close to the romanticism of his final period. The pianist’s straightforward approach was conspicuous from the very first rolled chord of the piece and the phrase that immediately followed. Her interpretation was not the typical fiery one, and lacked the much-expected bombastic qualities often heard in performances of this piece. Everything was hushed and had an extraordinarily subtle, intimate, and almost-timid air. This style persisted throughout the entire piece, but especially in the First movement. Even though time has granted this sonata an extremely wide range of interpretations (most of them leaning towards the more romantic side), the no-nonsense, classical approach Tomšič brought to the piece was very clean and crisp. 

What was not as crisp at times and perhaps a bit too lenient was the pianist’s approach to rhythm, particularly in the Second movement of the sonata. Her flexibility and expressivity with time is masterful, but some of the more militant and strict rhythmic pulses in the piece were not as strongly projected as could have been. The tempos Tomsic took were mostly on the fast (and maybe a little breathless) side, reminiscent of the impulsive Martha Argerich. But the Sonata’s Third movement was impressive in its unusually thoughtful and slower tempo, which helped the pianist highlight some of the music’s most graceful features. The beautifully feminine features of the movement were showcased through a sparkling range of dynamics, and through a little more freedom with rubato than in previous movements. 

But the pianist used rubato only when completely necessary, and her “old school of music making” style came through all aspects of her playing, ranging from technical decisions to artistic conceptions. A former student of Artur Rubinstein, it is very obvious that Tomsic would have never considered bringing intense sentimentality or over-the-top romanticism into her performance. Even so, her program, a colorful array of romantic and late-classical pieces, required the use of intense lushness and savory splendor, which made one wonder how she was going to pull off the rest of her recital program with such an approach. 

Nevertheless, Tomšič did not disappoint. She continued her program with one of Beethoven’s most popular sonatas, the Op. 81a Les Adieux. A most challenging work, this sonata could be easily distorted with superficial indulgence and distasteful overplaying. Allegedly depicting one of Beethoven’s friends’ departure in the first movement, absence in the second, and return in the third, Les Adieux is a piece requiring intense and mature emotions. Tomšič’s approach may not have been a typical sugary and romantically-drenched interpretation, but it nevertheless reached a level of loftiness rarely heard today. 

Even though one of the two most energetic climaxes in this recital was reached during the first movement of this Sonata, the piece was never the least bit forced or unnecessarily violent under Tomsic’s hands. In fact, from the moment she touched the keys, the most remarkable thing about her performance was the ease and the lightness with which she played. Struggle and adrenaline were not part of her overall performance, for Tomsic seemed to have complete control over everything she did on stage. 

After a brief intermission, Tomšič treated us to one of the most artistically and technically-challenging sets of pieces in the standard piano repertoire, Chopin’s Four Ballades. Each Ballade has its own particular challenges for the performer and rewards for the listener, some of which could be lost in the intense technical preparation needed for a good performance of the pieces. But as demonstrated in the first and third movements of the Les Adieux Sonata. Seemingly unfettered by technical challenges Tomšič blasted through the Ballades with the same confidence she had used in the Beethoven Sonatas, but also with an added fiery passion not observed previously in this concert. 

If there was ever any doubt of Tomšič’s full range of emotions, they were all showcased generously in the performance of Chopin’s Ballades. For any pianist who chooses to perform all four Ballades, there is absolutely no “time to adjust” on stage. The first Ballade, besides being technically challenging, is a piece that need an extremely deep understanding of its constantly developing complexity. Surprisingly, Tomšič’s lack of intense romanticism and extroverted emotions did not minimize or restrict the piece’s true values. One of the highlights of the entire recital was Tomšič’s heart-wrenchingly beautiful interpretation of the middle section of the G minor Ballade. Throughout her playing, the tone she managed to pull out of the instrument was completely magical. 

What was even more magical, however, was the opening page of the Second Ballade, a story-like, simple song, reminiscent of an old folk tune or perhaps a Christmas carol. The pianist managed to create a state of complete peace and unaltered serenity before erupting into one of the most violent and rage-filled passages in Chopin piano literature. After a complex journey of intense anger and occasional sunlight, the piece concludes in a very cynical and wistful way, executed by Tomšič in a satisfyingly simple manner. 

Her performance of the Third Ballade exhibited the widest dynamic range and was definitely the climactic moment of the entire program. The only Ballade written in a major key, the third is often underestimated in its intensity and musical depth. However, Tomšič seemed to treat the first three Ballades equally, playing all of them with the same force of character and depth of intensity. Only the Fourth seemed to differ in her heart, and was most likely the one Tomšič of which she was most fond. She clearly allowed herself more freedom here, playing with more rubato and lush color than in the three preceding Ballades. The end result was a very appropriate conclusion to the entire recital. The Fourth Ballade, often considered one of Chopin’s supreme achievements, is among the most complex examples of self-conflicting emotions and thoughts ever expressed in romantic music. Tomšič’s approach was very intense and, like most of the program, very different from most performances heard today. Her individuality style was apparent from beginning to end. 

But of course, after the appropriately tempestuous applause that followed, Tomšič sat down and treated us with not one, not two, but three beautiful encores! The First was an exquisite and elegant Valse Oublié No. 1 by Liszt, which she seemed even more comfortable with (if that was possible) than any of the pieces she played on her program. Next we heard a lightning-fast and brilliant version of Chopin’s “Minute Waltz”, at which everyone gasped in recognition. Even though the waltz could not be possibly performed in a minute, Tomšič may have just gotten close to that, as her fingers blurred together incredibly with sixteenth notes! Finally, this remarkable pianist ended the night with a playful and bright version of Liszt’s Gnomenreigen, a joy for all listeners to hear, and a piece leaving everyone in a positive mood.Extraordinary pianist Dubravka Tomsˇicˇ has mesmerized audiences for decades, and this past Sunday was certainly no exception. She visited the McAfee Center in Saratoga for a lush and colorful recital featuring two Beethoven Sonatas and Four Chopin Ballades.

Tomšič’s presence was instantly known when she stepped on stage in her sparkly, Grecian goddess-like gown. She greeted the audience very seriously, without any pretentious smiles. After bowing and adjusting her chair, the listeners noticed that she had a cold (judging by the handkerchief she kept on the piano and by her coughs between movements and pieces later on.) Nevertheless, what came next would give absolutely no hint of her being the slightest bit ill.

Starting the concert off with a bang, Tomšič played Beethoven’s Op. 31, No. 2 Sonata, a piece appropriately named “Tempest” for its tumultuous and passionately-explosive effects, especially out of the ordinary for Beethoven’s early to middle compositional period — although one that did not yet reach anything close to the romanticism of his final period. The pianist’s straightforward approach was conspicuous from the very first rolled chord of the piece and the phrase that immediately followed. Her interpretation was not the typical fiery one, and lacked the much-expected bombastic qualities often heard in performances of this piece. Everything was hushed and had an extraordinarily subtle, intimate, and almost-timid air. This style persisted throughout the entire piece, but especially in the First movement. Even though time has granted this sonata an extremely wide range of interpretations (most of them leaning towards the more romantic side), the no-nonsense, classical approach Tomšič brought to the piece was very clean and crisp.

What was not as crisp at times and perhaps a bit too lenient was the pianist’s approach to rhythm, particularly in the Second movement of the sonata. Her flexibility and expressivity with time is masterful, but some of the more militant and strict rhythmic pulses in the piece were not as strongly projected as could have been. The tempos Tomšič took were mostly on the fast (and maybe a little breathless) side, reminiscent of the impulsive Martha Argerich. But the Sonata’s Third movement was impressive in its unusually thoughtful and slower tempo, which helped the pianist highlight some of the music’s most graceful features. The beautifully feminine features of the movement were showcased through a sparkling range of dynamics, and through a little more freedom with rubato than in previous movements.

But the pianist used rubato only when completely necessary, and her “old school of music making” style came through all aspects of her playing, ranging from technical decisions to artistic conceptions. A former student of Artur Rubinstein, it is very obvious that Tomšič would have never considered bringing intense sentimentality or over-the-top romanticism into her performance. Even so, her program, a colorful array of romantic and late-classical pieces, required the use of intense lushness and savory splendor, which made one wonder how she was going to pull off the rest of her recital program with such an approach.

Nevertheless, Tomšič did not disappoint. She continued her program with one of Beethoven’s most popular sonatas, the Op. 81a Les Adieux. A most challenging work, this sonata could be easily distorted with superficial indulgence and distasteful overplaying. Allegedly depicting one of Beethoven’s friends’ departure in the first movement, absence in the second, and return in the third, Les Adieux is a piece requiring intense and mature emotions. Tomšič’s approach may not have been a typical sugary and romantically-drenched interpretation, but it nevertheless reached a level of loftiness rarely heard today.

Even though one of the two most energetic climaxes in this recital was reached during the first movement of this Sonata, the piece was never the least bit forced or unnecessarily violent under Tomsˇicˇ’s hands. In fact, from the moment she touched the keys, the most remarkable thing about her performance was the ease and the lightness with which she played. Struggle and adrenaline were not part of her overall performance, for Tomsic seemed to have complete control over everything she did on stage.

After a brief intermission, Tomšič treated us to one of the most artistically and technically-challenging sets of pieces in the standard piano repertoire, Chopin’s Four Ballades. Each Ballade has its own particular challenges for the performer and rewards for the listener, some of which could be lost in the intense technical preparation needed for a good performance of the pieces. But as demonstrated in the first and third movements of the Les Adieux Sonata. Seemingly unfettered by technical challenges Tomsic blasted through the Ballades with the same confidence she had used in the Beethoven Sonatas, but also with an added fiery passion not observed previously in this concert.

If there was ever any doubt of Tomšič’s full range of emotions, they were all showcased generously in the performance of Chopin’s Ballades. For any pianist who chooses to perform all four Ballades, there is absolutely no “time to adjust” on stage. The first Ballade, besides being technically challenging, is a piece that need an extremely deep understanding of its constantly developing complexity. Surprisingly, Tomšič’s lack of intense romanticism and extroverted emotions did not minimize or restrict the piece’s true values. One of the highlights of the entire recital was Tomšič’s heart-wrenchingly beautiful interpretation of the middle section of the G minor Ballade. Throughout her playing, the tone she managed to pull out of the instrument was completely magical.

What was even more magical, however, was the opening page of the Second Ballade, a story-like, simple song, reminiscent of an old folk tune or perhaps a Christmas carol. The pianist managed to create a state of complete peace and unaltered serenity before erupting into one of the most violent and rage-filled passages in Chopin piano literature. After a complex journey of intense anger and occasional sunlight, the piece concludes in a very cynical and wistful way, executed by Tomsˇicˇ in a satisfyingly simple manner.

Her performance of the Third Ballade exhibited the widest dynamic range and was definitely the climactic moment of the entire program. The only Ballade written in a major key, the third is often underestimated in its intensity and musical depth. However, Tomšič seemed to treat the first three Ballades equally, playing all of them with the same force of character and depth of intensity. Only the Fourth seemed to differ in her heart, and was most likely the one Tomšič of which she was most fond. She clearly allowed herself more freedom here, playing with more rubato and lush color than in the three preceding Ballades. The end result was a very appropriate conclusion to the entire recital. The Fourth Ballade, often considered one of Chopin’s supreme achievements, is among the most complex examples of self-conflicting emotions and thoughts ever expressed in romantic music. Tomšič’s approach was very intense and, like most of the program, very different from most performances heard today. Her individuality style was apparent from beginning to end.

But of course, after the appropriately tempestuous applause that followed, Tomsic sat down and treated us with not one, not two, but three beautiful encores! The First was an exquisite and elegant Valse Oublié No. 1 by Liszt, which she seemed even more comfortable with (if that was possible) than any of the pieces she played on her program. Next we heard a lightning-fast and brilliant version of Chopin’s “Minute Waltz”, at which everyone gasped in recognition. Even though the waltz could not be possibly performed in a minute, Tomšič may have just gotten close to that, as her fingers blurred together incredibly with sixteenth notes! Finally, this remarkable pianist ended the night with a playful and bright version of Liszt’s Gnomenreigen, a joy for all listeners to hear, and a piece leaving everyone in a positive mood.