“…This such a nice and modest pianist could create from the very beginning a concentrated, almost private atmosphere, which suits very well both the poetic exclusiveness of music and the intimacy of this peculiar time. In the introductory C-major-Prélude, the latent aria inspired by the music by J.S. Bach is presented in a keen fashion. Also the delicate Prélude in F-major is not played like an Etude, but rather like a fine improvisation. Gurdal was striving to look for something special in every single musical miniature, without giving the impression of achieving something affected and calculated in style. Everything sounded quite natural in movement and fluency, the music was—and this might indeed be a French quality—spontaneously flowing out of the melody. The second part of the concert was even more successful. The artist took such an agogic and emotional freedom, which suited very well the spontaneous, open character of this music. The delicate morbidezza of the melancholic Skrjabin as well as his abrupt and ecstatic gestures were enlivened under Gurdal’s hands in many different ways. After the last stormy chords, an enchanted audience warmly thanked Michèle Gurdal, who gave two fine encores, of course by Chopin and Skrjabin.”
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