 |
| Eugene Istomin |
Concerto in C minor K.491 - Mozart - Seattle Symphony Orchestra, Gerard Scwharz, Eugene Istomin
The spirit of wandering in delight can only come to terms with, can only be brought back to remembrance of, the Stern Truth, by wandering with delight and wonder through it.
metacomment: in contradistinction to violin concerto-ness, where the solo line plays the part of a singer, of language bearer, and the orchestra however integrated is the pit band; piano concerto-ness is a meeting of equivalent universes - the piano clarifies, interprets, analyzes, the orchestra. It teaches us how to hear it.
September 22, 2016
Piano Concerto in G Op. 58 (#4) - Beethoven - Chicago Symphony Orchestra, Georg Solti, Vladimir Ashkenazy
Big in every way, but . . .
1. announces its solo sound so that the orchestra is already an interpretation, an inverted concerto. The orchestra is taught to be a piano.
2. The balance between/among: dynamic level and duration of passage || size and number || focus || implied and explicit. Love how, at the join, string sound and piano sound conjoin: pizzicato as a structural gambit.
3. The piano is taught to be an orchestra (and hearkening back to 2. with the modulation on the quiet pizzicato.)
 |
| Peter Katin |
Fiercely unsentimental. Completely poetic, but so with a bone hard poetry of philosophical assertion. No swooning tulips here. Let's get serious folks, this music is talk.
Ages ago, at the time he was recording the complete Polonaises, Peter Katin was a regular on the Compu-Serve classical music forum. I had been looking forward to purchasing the CDs when they were released, but just at that time we had hour-reductions at work and money got tight. Peter sent them to me gratis. I am sorry to learn that he passed away last year at the age of 84.
In Session at the Tintinabulary
September 19, 2016
Gradus 298 160919 - Neal Kosály-Meyer
No comments:
Post a Comment