you know what's going to happen....
Herman a formulé ce mardi :
you know what's going to happen....No...What ?!...
I listened for you, Friends of RMCR, some interpretations from my
gigantic collection of discs of this absolute masterpiece that are the Diabelli of the Great Deaf...
We do not know if the feeling of nervousness and of flying over the
text is linked to the extreme speed of the tempo chosen by *Stephen Kovacevich*; the fact remains that these Diabelli seem noisily
rushed...
*Piotr Anderszewski* makes his point: so many highlighted details, exaggerations, egocentric affectations !... The Variations 21 to 23 are
even in bad taste: these Diabelli are furiously lacking in Beethoven
!...
Force of the moment, accuracy of the trajectory: the variations are
limpid, elegant under the fingers of *Laurent Cabasso* ; a Beethoven
under control, that a zest of humor and some fluctuations of mood would prevent from any academism, risk of this scrupulous reading...
Of course, the sound recording dates back 50 years... But what a
miracle! *Rudolf Serkin* advances in the Diabellis, as if in wonder, revealing in each variation an impromptu, an etching, where tiny
rhythmic oscillations have the fragility of a candle flame. One
praises, in this master of rubato, the urgency, the joy, the
naturalness, and, more simply, the sense of discourse that brings out
the hollows and the unspoken... Authority and reverie; a human
Beethoven, terribly human...
*Maurizio Pollini* 's Diabellide Variations are immediately animated by
a visionary spirit... They sing, dance, vibrate, each one more finely
than the other, marvelously characterized, and the ensemble rises to unsuspected heights, with a finale like a call from heaven... The
Italian pianist conceives the series as a great, powerfully unified
whole, delivered with a single impetus and a single breath, interior, imperious, vital... One is struck by the art of the attacks, the
density of the sound, the listening to the inner voices - that of the composer? - which distinguishes him from his colleagues... Diabelli
freed from all earthly contingencies, and a definition of grace...
But there is also, of course, Arrau...Brendel (3 times...The first
[Vox] by far the best)...Yudina (1961 Scribendum) and many others...
On Tuesday, December 13, 2022 at 10:22:11 AM UTC-8, hvt...@xs4all.nl wrote:
There are many good ones among thehttps://www.youtube.com/playlist?list=OLAK5uy_nXyWTaIzLvQ_DEwx6md6sNfDAHDq-BMnk
"many others": Katchen, Richter-Haaser ...
Herman a formulé ce mardi :
you know what's going to happen....No...What ?!...
There are many good ones among the
"many others": Katchen, Richter-Haaser ...
I listened for you, Friends of RMCR, some interpretations
from my gigantic collection of discs of this absolute
masterpiece that are the Diabelli of the Great Deaf...
Why do you listen "for us"? Do you think the ears of
the foiks in this ng are less capable than yours? Or
do you think one needs to listen through several
pairs of cans and speakers in order to hear all
the voices?
Dan Koren avait prétendu :
Why do you listen "for us"? Do you think the ears of
the foiks in this ng are less capable than yours? Or
do you think one needs to listen through several
pairs of cans and speakers in order to hear all
the voices?
Oscar Wide said that humor
was the politeness of despair...
You are obviously not desperate,
my poor koko...
I listened for you, Friends of RMCR, some interpretations from my
gigantic collection of discs of this absolute masterpiece that are the Diabelli of the Great Deaf...
Is it *Richter* who puts on his big shoes here?... Yes, strangely
enough, and the opening of his Diabelli is heavy and pompous... A
severe observation...
We do not know if the feeling of nervousness and of flying over the
text is linked to the extreme speed of the tempo chosen by *Stephen Kovacevich*; the fact remains that these Diabelli seem noisily
rushed...
*Piotr Anderszewski* makes his point: so many highlighted details, exaggerations, egocentric affectations !... The Variations 21 to 23 are
even in bad taste: these Diabelli are furiously lacking in Beethoven
!...
Force of the moment, accuracy of the trajectory: the variations are
limpid, elegant under the fingers of *Laurent Cabasso* ; a Beethoven
under control, that a zest of humor and some fluctuations of mood would prevent from any academism, risk of this scrupulous reading...
Of course, the sound recording dates back 50 years... But what a
miracle! *Rudolf Serkin* advances in the Diabellis, as if in wonder, revealing in each variation an impromptu, an etching, where tiny
rhythmic oscillations have the fragility of a candle flame. One
praises, in this master of rubato, the urgency, the joy, the
naturalness, and, more simply, the sense of discourse that brings out
the hollows and the unspoken... Authority and reverie; a human
Beethoven, terribly human...
*Maurizio Pollini* 's Diabellide Variations are immediately animated by
a visionary spirit... They sing, dance, vibrate, each one more finely
than the other, marvelously characterized, and the ensemble rises to unsuspected heights, with a finale like a call from heaven... The
Italian pianist conceives the series as a great, powerfully unified
whole, delivered with a single impetus and a single breath, interior, imperious, vital... One is struck by the art of the attacks, the
density of the sound, the listening to the inner voices - that of the composer? - which distinguishes him from his colleagues... Diabelli
freed from all earthly contingencies, and a definition of grace...
But there is also, of course, Arrau...Brendel (3 times...The first
[Vox] by far the best)...Yudina (1961 Scribendum) and many others...
You are weird, Melmoth.
You say you listened to these recordings, and yet, what you pass of
as your own conclusions from that exercise is actually the summary
of last Sunday's French radio broadcast "La Tribune des Critiques de
Disques" where the Diabelli Variations were on the program.
On Wednesday, December 14, 2022 at 2:04:27 AM UTC-8, m...@altschwager.de wrote:
You are weird, Melmoth.
You say you listened to these recordings, and yet, what you pass of
as your own conclusions from that exercise is actually the summary
of last Sunday's French radio broadcast "La Tribune des Critiques de Disques" where the Diabelli Variations were on the program.
Not "weird", just cheating. Why do you
think he doesn't post under his real name?
This is oh so French, starting with Georges
Sand, though she had more understandable
reasons for not revealing her identity.
MELMOTH schrieb am Dienstag, 13. Dezember 2022 um 17:55:13 UTC+1:
I listened for you, Friends of RMCR, some interpretations from my
gigantic collection of discs of this absolute masterpiece that are the Diabelli of the Great Deaf...
the program.Is it *Richter* who puts on his big shoes here?... Yes, strangely
enough, and the opening of his Diabelli is heavy and pompous... A
severe observation...
We do not know if the feeling of nervousness and of flying over the
text is linked to the extreme speed of the tempo chosen by *Stephen Kovacevich*; the fact remains that these Diabelli seem noisily
rushed...
*Piotr Anderszewski* makes his point: so many highlighted details, exaggerations, egocentric affectations !... The Variations 21 to 23 are even in bad taste: these Diabelli are furiously lacking in Beethoven
!...
Force of the moment, accuracy of the trajectory: the variations are limpid, elegant under the fingers of *Laurent Cabasso* ; a Beethoven
under control, that a zest of humor and some fluctuations of mood would prevent from any academism, risk of this scrupulous reading...
Of course, the sound recording dates back 50 years... But what a
miracle! *Rudolf Serkin* advances in the Diabellis, as if in wonder, revealing in each variation an impromptu, an etching, where tiny
rhythmic oscillations have the fragility of a candle flame. One
praises, in this master of rubato, the urgency, the joy, the
naturalness, and, more simply, the sense of discourse that brings out
the hollows and the unspoken... Authority and reverie; a human
Beethoven, terribly human...
*Maurizio Pollini* 's Diabellide Variations are immediately animated by
a visionary spirit... They sing, dance, vibrate, each one more finely
than the other, marvelously characterized, and the ensemble rises to unsuspected heights, with a finale like a call from heaven... The
Italian pianist conceives the series as a great, powerfully unified
whole, delivered with a single impetus and a single breath, interior, imperious, vital... One is struck by the art of the attacks, the
density of the sound, the listening to the inner voices - that of the composer? - which distinguishes him from his colleagues... Diabelli
freed from all earthly contingencies, and a definition of grace...
But there is also, of course, Arrau...Brendel (3 times...The firstYou are weird, Melmoth.
[Vox] by far the best)...Yudina (1961 Scribendum) and many others...
You say you listened to these recordings, and yet, what you pass of as your own conclusions from that exercise is actually the summary of last Sunday's French radio broadcast "La Tribune des Critiques de Disques" where the Diabelli Variations were on
For those who don't listen to French radio France Musique: At "La Tribune" every Sunday between 4pm and 6pm three critics blind listen to, and judge, six interpretations of a given work. The moderator Jérémie Rousseau posts a summary of the episodeon the website the next Monday. It is this summary of last Sunday's Diabelli Variations episode (https://www.radiofrance.fr/francemusique/podcasts/la-tribune-des-critiques-de-disques/variations-diabelli-de-beethoven-9511939) what Melmoth posted here.
M.A.
You are weird, Melmoth.
You say you listened to these recordings, and yet, what you pass of as your own conclusions from that exercise is actually the summary of last Sunday's French radio broadcast "La Tribune des Critiques de Disques" where the Diabelli Variations were on the program.
M. A. a écrit :
You are weird, Melmoth.
You say you listened to these recordings, and yet, what you pass of as yourYes...This show is the oldest radio show of the French radio !...
own conclusions from that exercise is actually the summary of last Sunday's
French radio broadcast "La Tribune des Critiques de Disques" where the Diabelli Variations were on the program.
I will always remember the first time I listened to it !...I was
preparing the oral exam for the veterinary school entrance exam, and
the piece compared was Prokofiev's Romeo & Juliet...Ancerl won it with flying colors !...The following Sunday, it was Liszt's Sonata... "Won" by...Yvonne Loriod !...Happy memories of the summer 1964 !...
NB: I was obviously brilliantly accepted at the contest, and flew immediately afterwards to Sweden to join my girlfriend, whom I
met the year before in Torremolinos (Spain)!...
I listened for you, Friends of RMCR, some interpretations from my
gigantic collection of discs of this absolute masterpiece that are the Diabelli of the Great Deaf...
Is it *Richter* who puts on his big shoes here?... Yes, strangely
enough, and the opening of his Diabelli is heavy and pompous... A
severe observation...
We do not know if the feeling of nervousness and of flying over the
text is linked to the extreme speed of the tempo chosen by *Stephen Kovacevich*; the fact remains that these Diabelli seem noisily
rushed...
*Piotr Anderszewski* makes his point: so many highlighted details, exaggerations, egocentric affectations !... The Variations 21 to 23 are
even in bad taste: these Diabelli are furiously lacking in Beethoven
!...
Force of the moment, accuracy of the trajectory: the variations are
limpid, elegant under the fingers of *Laurent Cabasso* ; a Beethoven
under control, that a zest of humor and some fluctuations of mood would prevent from any academism, risk of this scrupulous reading...
Of course, the sound recording dates back 50 years... But what a
miracle! *Rudolf Serkin* advances in the Diabellis, as if in wonder, revealing in each variation an impromptu, an etching, where tiny
rhythmic oscillations have the fragility of a candle flame. One
praises, in this master of rubato, the urgency, the joy, the
naturalness, and, more simply, the sense of discourse that brings out
the hollows and the unspoken... Authority and reverie; a human
Beethoven, terribly human...
*Maurizio Pollini* 's Diabellide Variations are immediately animated by
a visionary spirit... They sing, dance, vibrate, each one more finely
than the other, marvelously characterized, and the ensemble rises to unsuspected heights, with a finale like a call from heaven... The
Italian pianist conceives the series as a great, powerfully unified
whole, delivered with a single impetus and a single breath, interior, imperious, vital... One is struck by the art of the attacks, the
density of the sound, the listening to the inner voices - that of the composer? - which distinguishes him from his colleagues... Diabelli
freed from all earthly contingencies, and a definition of grace...
But there is also, of course, Arrau...Brendel (3 times...The first
[Vox] by far the best)...Yudina (1961 Scribendum) and many others...
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