So, Rodríguez is back at another concert at Brussels on 11th October 2024, with his contemporary repertoire, 'Unique Moments', creating something sophisticated yet accessible, honouring classical tradition while boldly exploring new musical ground. There’s nothing gimmicky here; instead, Rodríguez brings together intriguing, well-composed sections with classical and jazz influences. His control of dynamics is incredible, each note has a perfect crescendo and diminuendo, but it’s never quite the same twice with his nuanced touch and pedalling.
To get a bit technical here, his articulation is precise, whether he’s going fortissimo in big, dramatic passages or playing delicate pianissimo phrases, with impressive control. His rubato choices add meaning, resonating through each phrase. But beyond technical precision and spot-on expression markings, it's the emotional weight in his interpretation that actually does all the heavy lifting. Basically, the entire time, that piano sounds unpretentious and also, quite fun.
Now, apart from these complexities, here's something you should know while listening to this performance. When Rodríguez plays, his notes sort of ascend and descend and also just kind of dance all over the place. Imagine them doing these undisturbed and unexpected waves and spirals, a flow that just keeps you guessing. Here's what's even more interesting, he takes these two totally distinct chords that should feel miles apart and quite impossible to be adjacent, and somehow bridges them together with the magic of his composition. And he'll even do this with groups of chords, interlocking each group through a medium of drifting notes.
Now, structure-wise, the first movement, marked Moderato to Allegro, has a knack for melody, mixing joy and calm in G Major with ease and elegance. The movement’s structure is solid, but it also feels intensely personal and in a way inviting or say, welcoming. Then, in the second movement, he switches things up with pentatonic and Andalusian scales, creating a kind of dreamy, wistful atmosphere. Adagio Assai is moving to Andantino, which basically means that the music goes from a really slow, thoughtful pace to a slightly quicker flow, but with a meditative accent that somehow bridges classical roots with something newer and more, sort of global. It’s like a meeting point for different musical worlds, making this part feel quite forward-thinking.
And then, you have the third movement which goes from Allegretto to Presto, meaning, the music changes from a moderately lively pace to a very fast tempo. Here, everything is filled with energy, moving between G Major and F Major to create this exciting, celebratory close. The dynamic shifts keep things intense as they progress, and the balance between intimacy and grandeur is beautifully handled. This piece has everything it needs to become a classic of modern piano music, and I wouldn’t be surprised if it inspires other musicians to interpret it and make it their own. Today, where classical music sometimes feels distant, Rodríguez reminds us just how alive and moving it can be.