{"id":5413,"date":"2025-10-12T20:47:48","date_gmt":"2025-10-12T20:47:48","guid":{"rendered":"https:\/\/theconcertwitness.com\/?p=5413"},"modified":"2025-10-13T09:05:57","modified_gmt":"2025-10-13T09:05:57","slug":"fred-hersch-zagreb-jazz-festival-2025","status":"publish","type":"post","link":"https:\/\/theconcertwitness.com\/index.php\/2025\/10\/12\/fred-hersch-zagreb-jazz-festival-2025\/","title":{"rendered":"Fred Hersch \u2014 Solo Piano Concert at the 16th Zagreb Jazz Festival"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Music Academy Zagreb, October 10, 2025<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>A piano recital in the spirit of intimacy and mastery<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>It is always a rare pleasure to hear a solo piano concert in a hall with good acoustics \u2014 and when the piano is in the hands of a virtuoso like Fred Hersch, one knows immediately it will be a night to remember. Opening the <a href=\"https:\/\/zgjazzfestival.com\">16th Zagreb Jazz Festival<\/a> at the Music Academy\u2019s concert hall, Hersch delivered an evening that spanned his own compositions, jazz standards, Brazilian classics, and singer-songwriter gems \u2014 all unified by his unmistakable touch and deeply personal approach to the piano.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The atmosphere before the concert was reminiscent of a classical recital: quiet anticipation, the stage lit softly, a grand piano standing in front of the pipe organ, awaiting one man\u2019s dialogue with sound.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>The Surrounding Green and beyond<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Hersch opened the concert with&nbsp;<em>The Surrounding Green<\/em>, the title track of his latest ECM release recorded with Drew Gress and Joey Baron earlier this year. The piece immediately established a calm and intimate tone, his phrasing delicate yet full of intent. Without pause, he segued into Egberto Gismonti\u2019s&nbsp;<em>Palha\u00e7o<\/em>, allowing the acoustic resonance of the hall to bloom. His dynamic range was breathtaking \u2014 moments of near silence made the audience hold their breath before he let the melody unfold again.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A striking contrast followed with Benny Golson\u2019s&nbsp;<em>Whisper Not<\/em>, played with a powerful swing feel. Hersch\u2019s use of dense block chords evoked the richness of a big band arrangement, while his contrapuntal improvisation blurred the line between jazz and classical piano tradition.<\/p>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0d0d\" style=\"text-align:left\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/1-1024x1024.avif\" alt=\"Fred Hersch performing at Music Academy Zagreb 2025\" class=\"wp-image-5433\" srcset=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/1-1024x1024.avif 1024w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/1-300x300.avif 300w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/1-150x150.avif 150w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/1-768x768.avif 768w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/1.avif 1200w\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/Pianist-1024x1024.avif\" alt=\"\" class=\"wp-image-5454\" srcset=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/Pianist-1024x1024.avif 1024w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/Pianist-300x300.avif 300w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/Pianist-150x150.avif 150w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/Pianist-768x768.avif 768w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/Pianist.avif 1200w\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" data-id=\"5431\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/2-1024x1024.avif\" alt=\"Fred Hersch performing at Music Academy Zagreb 2025\" class=\"wp-image-5431\" srcset=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/2-1024x1024.avif 1024w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/2-300x300.avif 300w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/2-150x150.avif 150w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/2-768x768.avif 768w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/2.avif 1200w\" \/><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n<p><\/p>\n\n\n<h4 class=\"wp-block-heading\"><strong>From Brazil to Personal Reflections<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">The program then turned to two Antonio Carlos Jobim pieces,&nbsp;<em>Retrato em Branco e Preto<\/em>&nbsp;and&nbsp;<em>Brigas Nunca Mais<\/em>. Hersch approached the first as a reflective ballad, intentionally stepping away from the standard bossa nova groove, before shifting into a livelier tempo for the second, revealing the rhythmic vitality beneath his elegant touch.<strong><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Visibly modest in response to each wave of applause, Hersch introduced two of his own compositions \u2014&nbsp;<em>West Virginia Rose<\/em>, dedicated to his 96-year-old mother, and&nbsp;<em>Down Home<\/em>, a piece dedicated to guitarist Bill Frisell. The former unfolded with a lyrical, hymn-like quality, while&nbsp;<em>Down Home<\/em>&nbsp;revealed Hersch\u2019s effortless movement between tender balladry and stride-inflected motion, always maintaining his signature melodic clarity and structural poise. A sensitive rendition of Jimmy Rowles\u2019s&nbsp;<em>The Peacocks<\/em>&nbsp;followed, each phrase suspended with luminous restraint.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Singer-songwriters and jazz standards intertwined<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Hersch then turned to two singer-songwriter classics from the early 1970s, both deeply connected to his formative years. Introducing Joni Mitchell\u2019s&nbsp;<em>My Old Man<\/em>&nbsp;from her&nbsp;<em>Blue<\/em>&nbsp;album, he mentioned its influence on him as a high-school student. His lyrical playing made the piano seem to sing the words, bridging the worlds of jazz and songwriting. Without pause, he transitioned into James Taylor\u2019s&nbsp;<em>You Can Close Your Eyes<\/em>, released the same year \u2014 1971 \u2014 a tender pairing that underlined the emotional honesty at the heart of his artistry.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">He concluded the main set with a stunning interpretation of Thelonious Monk\u2019s&nbsp;<em>\u2019Round Midnight<\/em>, encapsulating what felt like a panoramic journey through the history of jazz piano \u2014 seamlessly blending composition and improvisation, classical and jazz phrasing, intellect and emotion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0d0d\" style=\"text-align:left\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"563\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/DSCF3563.avif\" alt=\"Fred Hersch performing at Music Academy Zagreb 2025\" class=\"wp-image-5428\" srcset=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/DSCF3563.avif 1000w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/DSCF3563-300x169.avif 300w, https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/DSCF3563-768x432.avif 768w\" \/><\/figure>\n<\/div>\n\n\n<\/p>\n\n\n<h4 class=\"wp-block-heading\"><strong>Encores of lyricism and swing<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">The audience was unwilling to let him go. For his first encore, Hersch played Billy Joel\u2019s&nbsp;<em>And So It Goes<\/em>&nbsp;with unadorned beauty, allowing its melody to speak for itself \u2014 almost meditative in its simplicity. Returning once more, he humorously dedicated the final tune to \u201ca certain resident of the White House\u201d and launched into a jubilant&nbsp;<em>After You\u2019ve Gone<\/em>. The hall erupted in smiles, claps, and even foot-tapping as he closed the evening with impeccable swing and wit.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>A complete musician<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Fred Hersch\u2019s recital reminded us that true mastery transcends genre. His command of jazz and classical techniques, his sensitivity to dynamics, and his deep respect for songcraft created a cohesive narrative \u2014 a portrait of a musician who listens, responds, and transforms. Hearing an unamplified acoustic piano in such a hall was itself a gift; the nuances of touch and resonance revealed why Hersch remains one of the most important living voices in jazz piano.<\/p>\n\n\n\n<br>\r\n<div style=\"text-align: center; margin: 2rem 0;\">\r\n  <a href=\"https:\/\/theconcertwitness.com\/index.php\/category\/concerts\/\" \r\n     style=\"background-color: #0C0D0D; color: white; padding: 12px 30px; text-decoration: none; \r\n            border-radius: 50px; font-weight: bold; font-size: 1rem; display: inline-block;\r\n            border: 2px solid white;\">\r\n    Read More Concert Reviews\r\n  <\/a>\r\n<\/div>\r\n<br>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0d0d\" style=\"text-align:left\">\n<div class=\"wp-block-montoya-gutenberg-clipped-image clipped-image-wrapper\"><div class=\"clipped-image-pin\"><div class=\"clipped-image\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2025\/10\/DSCF3570.avif\" alt=\"\"\/><div class=\"clipped-image-gradient\"><\/div><\/div><\/div><div class=\"clipped-image-content content-full-width\"><\/div><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Music Academy Zagreb, October 10, 2025 A piano recital in the spirit of intimacy and mastery It is always a rare pleasure to hear a solo piano concert in a hall with good acoustics \u2014 and when the piano is in the hands of a virtuoso like Fred Hersch, one knows immediately it will be [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":5423,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[],"class_list":["post-5413","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-concerts"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.5 - 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