On April 26, I attended a recital given by Krystian Zimerman in Los Angeles. The program included the Bach Partita No. 2 in C minor, and Beethovens Sonata 32 in C minor (I had heard Andras Shiff perform the same sonata three weeks earlier in the same hall.) After intermission, Zimerman was programmed to play the Brahms Klavierstucke, Op. 119. However, he instead played the Piano Sonata No. 2 (1953) by the Polish composer Grazyna Bacewic. The recital concluded with Szymanowskis Variations on a Polish Theme Op. 10. I will quote from Mark Sweds, (Los Angeles Times) review of the recital. "Zimerman (who doesnt 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 Bachs Partita No. 2 and Beethovens Piano Sonata 32, Opus 111, in the first half of the program. He quickly walked over to the piano and, instead of allowing the audience to be quiet, he launched into each piece, not even waiting for late-comers to be seated before beginning Beethovens most visionary sonata. Before playing the final work on his recital, Karol Szymanowskis 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 that he had not planned to speak but decided he could not keep silent. " What Zimerman had to say was criticism of United States foreign <b>...</b>
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