It appears that the woman playing the piano here has completely lost her mind . . . into that of the Polish Piano God. HJ has done this several times before (see Ravel's 'La Valse', Rachmaninoff's Concertos II and III and Etude Tableaux Op. 39 #5, and others). Here again, in her uniquely powerful, personal, and expressive voice, HJ delivers a performance that in some ways redefines how the music is heard. With striking continuity, this is as spontaneously dramatic of a rendition as I have ever heard. My personal view is that HJ uses her surpassing and surpassingly natural technique to emotionally go inside the music. She then uses that awareness and presence as her primary guide for interpretation - absolutely stunning. This process, HJ's method, is not possible without supreme musical mastery. No artist would even think to set themselves up for such continuous in-the-moment emotional reactions unless EVERY demand on the performer was so much a part their mind and body as to be truly facile - easy. This performer seems to not worry about technique, nor does she treat tone color as the primary means of polishing phrase shapes. And our modern piano interpretive standards count heavily on range of tone color and tight control of sonorities. Instead, HJ very physically uses the whole instrument - even more than Sviatoslav Richter - attempting to communicate the music from inside, as a Muse. This "whole instrument" approach is one reason why many well-informed listeners and experienced musicians are quick to criticize and/or dismiss HJ's work. Her method flies in the face of our carefully honed expectations of acceptable interpretive parameters and range of expression. HJ treats the piano like some sort of vehicle specifically designed and constructed for her to gain and retain expressive spontaneity in the process of musical interpretation. And while her physical delivery is both prodigious and powerful, her execution is matter-of-fact and non-technically oriented. Certainly, complete instrumental mastery and hyper dexterity are foundational to this extreme musicianship. Yet it is always the interpretations which electrify - not the speed or technique. I repeatedly find myself in awe of this person who strides onto a concert stage to unleash uninhibited extremes of musical expression. Counting is for drill sergeants and inventory takers! This music is fully alive, its contours constantly changing, driven by passionate acceleration, full rubato and pedal, and powerful cadence and climax emphases. These are her primary means of sculpting music? What an outrage! In terms of modern mainstream classical concertizing, this approach is radical. My personal sense is that this performer's goal, often well-achieved, is a continuous intimate emotional interaction with the composer. HJ's interpretive performances always enlighten, with a musical, emotional, and/or universal revelation available, just around the corner. Encyclopedic knowledge and creative intensity synergize to bring luminous insight to even a composer's darkest feelings, visions, reactions, and statements. HJ's Chopin 'G-minor Ballade' is another masterpiece of interpretive performance; fresh, deep, exciting, and most compelling. #HJLimMasterMuse

It appears that the woman playing the piano here has completely lost her mind . . . into that of the Polish Piano God. HJ has done this several times before (see Ravel's 'La Valse', Rachmaninoff's Concertos II and III and Etude Tableaux Op. 39 #5, and others). Here again, in her uniquely powerful, personal, and expressive voice, HJ delivers a performance that in some ways redefines how the music is heard. With striking continuity, this is as spontaneously dramatic of a rendition as I have ever heard.

My personal view is that HJ uses her surpassing and surpassingly natural technique to emotionally go inside the music. She then uses that awareness and presence as her primary guide for interpretation - absolutely stunning. This process, HJ's method, is not possible without supreme musical mastery. No artist would even think to set themselves up for such continuous in-the-moment emotional reactions unless EVERY demand on the performer was so much a part their mind and body as to be truly facile - easy. This performer seems to not worry about technique, nor does she treat tone color as the primary means of polishing phrase shapes. And our modern piano interpretive standards count heavily on range of tone color and tight control of sonorities. Instead, HJ very physically uses the whole instrument - even more than Sviatoslav Richter - attempting to communicate the music from inside, as a Muse. This "whole instrument" approach is one reason why many well-informed listeners and experienced musicians are quick to criticize and/or dismiss HJ's work. Her method flies in the face of our carefully honed expectations of acceptable interpretive parameters and range of expression.

HJ treats the piano like some sort of vehicle specifically designed and constructed for her to gain and retain expressive spontaneity in the process of musical interpretation. And while her physical delivery is both prodigious and powerful, her execution is matter-of-fact and non-technically oriented. Certainly, complete instrumental mastery and hyper dexterity are foundational to this extreme musicianship. Yet it is always the interpretations which electrify - not the speed or technique. I repeatedly find myself in awe of this person who strides onto a concert stage to unleash uninhibited extremes of musical expression. Counting is for drill sergeants and inventory takers! This music is fully alive, its contours constantly changing, driven by passionate acceleration, full rubato and pedal, and powerful cadence and climax emphases. These are her primary means of sculpting music? What an outrage! In terms of modern mainstream classical concertizing, this approach is radical. My personal sense is that this performer's goal, often well-achieved, is a continuous intimate emotional interaction with the composer. HJ's interpretive performances always enlighten, with a musical, emotional, and/or universal revelation available, just around the corner. Encyclopedic knowledge and creative intensity synergize to bring luminous insight to even a composer's darkest feelings, visions, reactions, and statements. HJ's Chopin 'G-minor Ballade' is another masterpiece of interpretive performance; fresh, deep, exciting, and most compelling.

#HJLimMasterMuse