Photo: Buhl Artists Management
Pianist Nick van Bloss
After a superb opening on Friday, with the Mass of the Collegium 1704, this was an evening of nightmarish at the Bach Festival. The screenwriter, author and actor of the thing is called Nick van Bloss, and what was more brilliant, it is his biography flowers.
To understand what happened and how the direction yet notified of the Bach festival is a trap, we must raise the curtain of behind the scenes of the classical music. Well before the ” fake news “, the classical background has been able to invent, build and concoct the false values. The world capital of the puppet theatre is London, where is concentrated the large agencies, artists, spokespeople powerful, media influences, naive, or complicit, are used, the language requires, relais international to the cause of the day.
The cause, this can be a fashion-related artists, like the sudden (and thankfully fleeting) eruption of conductors venezuelans a few years ago. Whether in the country or in its numerous satellites, we like to build characters in the image of their destiny, such as in Australia twenty years ago, David Helfgott, the hero of the film Shine. But the artistic reality is not at the height of the chord we are trying to make them vibrate.
Then, we would have liked to believe. We would have liked to see Nick van Bloss, aka ” the only pianist acclaimed in the world who suffers from the syndrome of Gilles de la Tourette syndrome, a disorder that disappears when he plays the piano “, was a man “in the process of becoming an international star” when he abandoned the piano for fifteen years before being reborn, is the “genius without pride, “”the pianist English legendary” of “reference” that we boast in his biography worth quotes, seal of a BBC documentary to support.
It is at the very heart of the current problem. There are now so plumitifs acculturés or complacent who write everything and anything, release digital to support, copying press kits and other ‘ ready-to-think “, that it is easy to get out of citations and to lay a biography corroborating a myth that collapses after a few notes heard in real life. There is so much more confident production than a redemption.
No the BBC documentary does not transform a pianist lambda “pianist English legendary” (level Curzon, Hough, Shelley, Blackshaw, as to do ?) or engineering. If the disk is illusion — but one disk is an illusion, a fiction which is hack — and-true, Nick van Bloss is a pianoteur without style, which, in Goldberg, attempts to give the exchange an interpretation by deconstructing the purposes of variations and sometimes to wander up to, and including (it really was the bouquet !) in the reprise of the Aria, where it takes a sudden jump of the measures.
When he plays pretty much what is written, Nick van Bloss, who has no kind of touch, mop through the Goldberg by pounding the pits of the left hand to show that he has understood something to the differentiation of the voices. But there is no line : he plays these intricacies as someone who says onomatopoeia.
This way of the cross was from the 2nd Partita, and I would even say from the first few seconds of the 2nd Partita, where Mr. van Bloss started to ornementer ex nihilo the entrance portico ! It began badly. The way of the cross lasted for a very long time.
The Goldberg Variations
Bach : Partita no. 2, BWV 826. The Goldberg Variations. Nick van Bloss (piano). Bourgie hall, Saturday, November 18, 2017.