Review: Krystian Zimerman's controversial appearance at Disney Hall

In 1978, an unknown, soft-spoken, 21-year-old Polish pianist appeared as soloist with the Los Angeles Philharmonic for its newly appointed music director, Carlo Maria Giulini,  in the Dorothy Chandler Pavilion.  The performances of Chopin’s two piano concertos were recorded by Deutsche Grammophon.  Krystian Zimerman’s eloquence went far beyond his years, and a major career was launched.

In the '80s, Zimerman became Leonard Bernstein’s favorite pianist, the conductor’s choice to record the Beethoven and Brahms piano concertos.  In 1992, the summer before Esa-Pekka Salonen became music director of the L.A. Philharmonic, he selected Zimerman to perform with the orchestra at the Salzburg Festival.

And now, Sunday, making his Disney Hall debut in a recital sponsored by the Philharmonic, Zimerman, who has become arguably the greatest pianist of his generation, made the surprise and shocking announcement from the stage that in protest to America's military policies overseas and particularly in Poland, he would no longer perform in the United States. 

“Get your hands off my country,” he said, soft-spoken but seething.  He accused the U.S. military of wanting “to control the whole world,” and made a reference to the U.S. military detention camp in Guantanamo Bay, Cuba.

Approximately three dozen in the audience walked out, some shouting obscenities.  “Yes,” he answered, “some people when they hear the word military start marching.”

Others remained but booed or yelled for him to shut up and play the piano.  But many more cheered.  He responded by saying that America has far finer things to export than the military, and he thanked those who support democracy.

Zimerman (who doesn't allow photos taken of his performances) had been in a seemingly curious mood all evening.  Normally, the most exacting of pianists, he dispatched with strange impatience Bach’s Partita No. 2 and Beethoven’s Piano Sonata No. 32, Opus 111, in the first half the program.  He quickly walked to the piano and instead of allowing the audience to quiet and the mood to be just right, he launched into each piece, not even waiting for latecomers to be seated before beginning Beethoven’s most visionary sonata.

A program change from Brahms’ late piano pieces, Opus 119, to the Piano Sonata No. 2 by Grazyna Bacewicz, announced over the loudspeakers after intermission, was the evening’s next surprise.  It was premiered in 1953 and is a strikingly modernist, moody and nationalist sonata for Soviet Poland.  Again Zimerman went straight to the piano and immediately attacked the percussive first movement.  The performance was riveting.

Before playing the final work on his recital, Karol Szymanowski’s "Variations on a Polish Folk Theme," Zimerman more typically sat meditatively on his bench for a moment.  Twice he leaned toward the keys and almost began to play, but then turned to the audience saying he hadn’t planned to speak but decided he could not keep silent.

Zimerman is a magnificent obsessive.  He travels with his own Steinway, is his own piano technician, and even his own truck driver.  He typically spends half a year devising a concert program and will do anything to achieve the sound he desires.  Three years ago at the Irvine Barclay Theatre, he substituted Gershwin for Chopin because the Transportation Security Administration had held up his piano at the airport and he didn’t have time to practice to adjust it properly.  An earlier piano was destroyed by Homeland Security at JFK airport because officials were suspicious that its glue could be an explosive in disguise.

All along, Szymanowski’s Variations had seemed an unusually lightweight end  to a program that contained far-reaching Bach, Beethoven and (originally) Brahms.  An early work by the only internationally famous Polish composer of the early 20th century, the pleasingly Chopinesque Variations were written in 1904 when the composer was 22 and demonstrate none of the erotic mysticism of his mid-career compositions or the folk-inspired nationalism that made him known as the Polish Bartók.

Yet to hear Zimerman play anything in Disney was amazing.  His Bach was richly nuanced and beautiful although pushed in the final Capriccio.  The trills in his Beethoven had a bell-like shimmer that sounded like a newly discovered acoustic phenomenon.

But in the Szymanowski, Zimerman’s meticulous tone, so luminous in the Introduction and theme, ultimately took second place to idealistic patriotic zeal.  It’s a good thing that he can look after his own pianos, because this one will probably want some doctoring after the treatment he gave it.  There was no encore.  Pianist, audience and piano were all spent.  The cheers were deafening.

I hope Zimerman reconsiders his U.S. embargo.  He has, of course, angered some Americans.  But our country is precisely the place where politics are not outlawed from the concert hall.  And I can’t imagine a more compelling case to be made for Polish solidarity than his incomparable performance of these variations.  

-- Mark Swed 

Earlier: Krystian Zimerman's shocking Disney Hall debut

Photo: Krystian Zimerman in 2005. Credit: Kasslara.

 

Comments

[JOHN BULLY]

TO ANDY C. (above)
SO US HAD AN ELECTION. SO WHAT?
THE NEW HEAD IS ONLY REARRANGING DECK-CHAIRS ON TITANIC.
NOTHING MORE. HE MAY WIN U.S. A BIT MORE TIME BUT THE END IS ALREADY ON THE HORIZON AND EVEN HUNDRED OBAMAS WILL NOT SAVE YOUR SICK, DEMENTED, DERANGED UNIVERSE.
JUST WAIT AND SEE...

[Geoff]

Reading the less-than-lucid outburst supplied by Jack Horneman, it is refreshing to know that Internet access has finally reached the local psych ward.

[carl]

This is a free country and everybody has the right to express opinions. But, Mr Z. is a FOREIGN GUEST on a visa. Any person who express disagreements with their hosts or host country should just leave and let the locals decide what their choice of politics will be.

[CChang]

To have your instrument destroyed must be one of the most traumatic experiences for a world class musician. I cannot believe TSA actually destroyed his Steinway because the glue smelled.

Couldn't Carnegie Hall or his presenters have interceeded with TSA in his favor?
We should be very ashamed for this, if indeed the U.S. has become the sort of country that confiscates and destroys an artist's tools and voice, in the name of "national security."

[Joanne Winetzki]

Thank you for having the courage to say what needed to be said. I'm looking forward to my next trip to Poland and hearing you play. As a second generation Polish-American who has studied, observed, and written about both cultures as a free lance writer, I understand where you are coming from and admire your candor. Sto Lat, Pan Krystian!!

[Nader M.]

Most of the comments here either support Mr. Zimerman or the angered audience. I think it would be helpful to discuss this matter from both perspectives.

I can empathize with both Mr. Zimerman and the audience/angered individuals. In terms of Mr. Zimerman, I am in fact very surprised that he even came back to the U.S. after his piano was destroyed the first time. His political views leading to a sour image of U.S. government should also not be judged.

In terms of the audience/angered individuals, Mr. Zimerman's actions during the concert DO seem rude and offensive. The audience certainly did not expect to be aggressively "lectured at" (as one of the comments puts it).

Does that mean Mr. Zimerman should have never spoken to the audience? No. In fact, I think it was the manner in which Mr. Zimerman behaved that offended the audience more than did his words. Mr. Zimerman rushed to the stage and played at once without waiting for the crowd's reactions to fade. He changed program from Brahms to a Polish composer (which is not per say horrible, but just a little unplanned and unsettling to some). And then he, on what seems to have been a spontaneous decision, talked at the audience before playing a piece. The content of his talk, obviously, were angering to some but his demeanor must have disturbed even more people.

So, what's the point I am making? I think that if Mr. Zimerman wanted to use the stage as political ground, he could have done it differently, perhaps in a more calculated, respectful, and less reactive manner. First, he could have remained faithful to the traditions of the concert hall which communicate respect for the audience and professionalism on behalf of the artist (such as waiting for the crowd to settle). Secondly, he could have arranged with the concert hall to give him the podium for a brief period so that he could respectfully and calmly appeal to the audience and communicate his message. For instance: "Thank you all for being here tonight...It is wonderful playing here in Disney Hall. I understand and respect your right to come here tonight and expect a great performance, and that is what I am trying my best to deliver to you. However, I wanted to take this opportunity to announce that I have decided for this concert to be my last performance in the United States. This is by no means an act of anger or retaliation towards the American people, but rather a political statement to the U.S. government and its foreign policies. If you would like to learn more about my views, please visit my website. Thank you for your understanding and enjoy the rest of the concert."

If he had behaved this way instead of targeting his anger towards the audience and being short and spontaneous, he would have probably not offended as many people as he did. In fact, given how understanding and incredible the people of America really are, he would have perhaps been applauded for his courage and the sacrifice he is willing to make to stand by his values.

In sum, Mr. Zimerman's actions seemed quite uncalculated and understandably upsetting. It is surprising to witness such behavior from an individual for whom extensive preparation and astonishing delivery are core values. Perhaps his unprofessionalism speaks to the amount of pain and anger he has been feeling. I just believe Mr. Zimerman, a legend for whom I still hold the highest respect and regards, could have channeled his feelings more effectively and respectfully. Thank you for taking the time to read this.

[a Far Eastern guy]

He could have joined protesters on the street or criticize the US foreign policies at the press. But he did it where he should have devoted himself to playing! He insulted the audience who were not there for his politics.
Democracy? Can we really call this democracy?

[K Baade]

Many people in American cannot handle the truth that we are imperialistic abroad and becoming increasing despotic right here at home.
"Show me who profits from war, and I'll show you how to stop the war."
- Henry Ford