Anna Gourari








Messina on Nov. 5, 2007

(...) What came out of this seemingly fragile woman yesterday evening is not only the grand technique which permits her to skilfully control the keyboard, but also the multiplicity of sonorities and atmospheres that she is able to create by interpreting the Seven Fantasies op. 116 by Brahms, the Sonata "Fleurs du Mal" of Jörg Widmann (first execution in Messina), the Nocturne op. 9 n. 1 and the Scherzo n. 2 in b-flat minor op. 31 of Chopin, and Hindemith's Suite "1922." the whole programme was a great union between famous works and modern piano literature. The op. Brahms, composed in 1892 as the composer's returen to writing for piano, preceded the Sonata "Fleurs du Mal? (inspired by Baudelaire) by Widmann, a piece with exquisite alchemy of sounds, while in the second part, two well known pieces of the Chopin preceded a wonderful example of the twentieth-century 'pianism', the famous Suite "1922" by Hindemith.

The Gourari involved the audience in his journey, enchaining him both in the lyric, almost mysterious and light strokes and the virtuosic passages, by expressing her big temperament. As the print says international « few pianists as is Gourari are able to find an almost perfect mixture of fiery attack and poetic insight, rich of sonority, songful and brilliant ».

As confirmed by famous American critic Harold Schoenberg, we totally agree that: «Gourari has, of course, the big technique needed for competition winners. But she also produces a lovely sound, she never bangs, her music-making has her own mark on it, and she takes a very personal view about the music she plays, never hesitating to modify tempos, never losing the basic rhythms, adding inflections and accents that are not always written into the scores but that 19th-Century composers expected of their interpreters. She is free but never eccentric. (...) she is outstanding. She has a Friedmanesque approach to the music, free but controlled.».