Π Π Π - V / Π
- Paris, Salle Cortot, 1 February 2011
- ( a) Schumann, Kinderszenen , op. 15 - Rachmaninov, study-table in the minor, op. 39 / 6; study mid-table flat minor, op. 33 / 6 - Liszt, Paganini large study based in the minor, S. 141 / 6 - Chopin study in B minor, op. 25/10
- (b) Chopin study C sharp minor, op. 25 / 7; Scherzo No. 2 in B flat minor if , op. 31 - Schubert arr. Liszt: Ständchen - Granados, extracted Goyescas , 2nd book: El Amor y la Muerte - Saint-Sens, study F major, Op. 111 / 6
- (b) Chopin study C sharp minor, op. 25 / 7; Scherzo No. 2 in B flat minor if , op. 31 - Schubert arr. Liszt: Ständchen - Granados, extracted Goyescas , 2nd book: El Amor y la Muerte - Saint-Sens, study F major, Op. 111 / 6
- Luka Oskrostsvaridze, piano (a)
- Irene Veneziano, piano (b)
Paris, Salle Cortot, February 8, 2011
- (a) CPE Bach Sonata in the major , Wq 55 / 4 - Chopin Ballade No. 4 in his minor, op. 52 - Shostakovich, prelude his major, and Fugue, Op. 87/23
- (b) Bach, 2nd Book of Keyboard high time é, Prelude and Fugue in if flat minor, BWV 891 - Prokofiev, Sonata No. 2 in D minor, Op. 14 - Liszt La Leggierezza, S. 144 / 2; Mephisto Waltz No. 1, S. 514
- Elizaveta Ivanova (a)
- Inga Fiolia (b)
- Irene Veneziano, piano (b)
Paris, Salle Cortot, February 8, 2011
- (a) CPE Bach Sonata in the major , Wq 55 / 4 - Chopin Ballade No. 4 in his minor, op. 52 - Shostakovich, prelude his major, and Fugue, Op. 87/23
- (b) Bach, 2nd Book of Keyboard high time é, Prelude and Fugue in if flat minor, BWV 891 - Prokofiev, Sonata No. 2 in D minor, Op. 14 - Liszt La Leggierezza, S. 144 / 2; Mephisto Waltz No. 1, S. 514
- Elizaveta Ivanova (a)
- Inga Fiolia (b)
New Discoveries rewarding to Animato Tuesdays of the Moreover, since the first two years for me, since the benefit of Federico Colli I mentioned last week was on her confirmation awaited. This is a real little revelation, because our interest was only nineteen years. Georgian citizenship is without doubt, all, which compared the size of the country is the most conducive to fantasy piano, especially with regard to the younger generation. Okrostsvaridze (pictured above) has also at least one thing in common with Buniatishvili, his eldest of five years he has produced seventeen years at Carnegie Hall. Instead, he chose the high road classic, after Tbilisi and studied since 2008 at the Moscow Conservatory. The least we can say (it's much cleaner than the previous Tuesday Kameneva with Daria, who was far from being ridiculous) is that it is seen, heard and felt. It is the archetype of the pianist (still) soviet which would probably flunked exams 3rd cycle of many French conservatories (because no "Music", and perhaps also because too glued to the piano and, for that matter, because the piano playing normally with the hand and fingers inert plate .
In relation to the instrument, and the general economy of expressive means, it can hardly do better in eighteen years. From this point of view, but rather the alternative model Buniatishvili, even if, somewhere, a common quality binds these Georgians (note valid for Inga Fiolia), which is the exclusion of any layer wavering, decorative or building They play in their game, if the music comes out, so much the better, if it does not come out, too bad: the musical will go on no substitute for music. With their strengths and weaknesses, these pianists are almost solely for that reason wonderfully pleasant to listen. This is particularly the case Okrostsvaridze Luka, which offers some ideal vision of what should be the Kinderszenen, cannon from one side of the piano music pushing performers to compensate (in this case the lack of notes to speak). Here we can not have the sensation of missing notes, first, because those are all out with a density natural, then, because driving is a form of passivity superb, all flow and never over-recovery or lineage. Some pieces are absolutely beautiful, moving as liberated from the grip of the usual tedious characterization "cultivated" who massacred so often all starts, and then Am Kamin and Fast zu ernst. Only the last three pieces seem slightly below their intrinsic issues, the economy here expressive flirting with the boundary that separates impalpable shyness. But all this is so healthy and beautiful as it is not serious.
His medley Study will look good enough: the Rachmaninoff are presented in exactly the same logic to the extreme, proactive, with a certain distinction, as in the total absence of théâtrlisation of "Little Red Riding Hood" (and the big bad wolf ): the study takes precedence over the tables and is reduced, which is not so common, in its dimension of pure music, and harmony, leaving the general line rather embellished. There will be a little more research characterization, dynamics and extreme risk-taking visible in Liszt and Chopin, with a little less success in Chopin (but is that surprising?) Okrostsvaridze feeling the need to add a density somewhat superfluous in the major section. Pianistically But, if this minor and Paganini remain at this high level, which was already obvious (obviously obvious) in his Scenes Children . Nice icing on the cake, the young man offers an encore a piece of composition quite worthwhile, so small prelude modal sounds opposite.
Another beautiful discovery of these Tuesdays is also Georgian, and in terms of the spirit of the game has quite the same traits with Okrostsvaridze in addition supported yet (which is a form of oxymoron here). Inga Fiolia pianist twenty-three, also from Tbilisi, who like many Slavic new generation has gone to improve in Germany after passing through Moscow, begins by offering a splendid performance of the prelude and fugue from the penultimate keyboard, and to locate a pianist, it is not nothing. For this B-flat minor is one of the most demanding issues of the second book, if forty-eight preludes and fugues, both the complexity of the depth of about intimidating. Fiolia do bypasses neither one nor the other, and offers an interpretation strongly organic, without any artificial stimulus, uniting the entire movement of the prelude and fugue. Breathing, the sense of advancing are impressive as are the concentration and clarity - while Fiolia will exercise any tricks to increase the latter. Holding his piano will be a little less absolute in the second of Prokofiev, who nevertheless persuaded again by dint of discipline and consistency, which has nothing common here: the advocates of a Prokofiev exuberant, percussive and dramatic will have been for their expenses, yet, the real substance of this music is rather beside the apparent austerity so human, especially poignant in the extreme recount implementing middle movement. No technical weakness will disturb the other hand a beautiful Leggierezza , conversely a Mephisto much less held in view of the relative fragility of the piano, including travel (but performances to those of Berezovsky Buniatishvili you get used quickly in this diabolical score to a level of ease too good to be aware). Nevertheless: pianists as pure and qu'Okrovastsirdze Fiolia vis-à-vis a certain moral music, I want more.
The other two appearances, those of Irene Veneziano Italian and Russian Elizaveta Ivanova, have been far less convincing. The second does not lack imagination or charm, and unfortunately did little to please those assets, placing it entirely on the opposite side of the same corporation that magnified our two Georgians - I concede that is so much worse ... Characterizations of its Carl Philip Emmanuel are very well seen and felt, but the music definitely still treacherous, no movement of continuity is natural, every silence and every semblance syncope pose an insurmountable problem. The fourth Ballade begins with lots of good intentions and then disintegrates in a continuous and relentless, the prelude to his major Shostakovich gives the best exchange rate, which is not true of the fugue (we will have measure the gap with the D flat major by Fiolia gave an encore, with a hair-raising fugue). Veneziano had in turn been noticed in the last Chopin Competition - then I had already preferred teammate Leonora Armellini, who has it also produced from Tuesdays to Animato. His recital was the merit of going crescendo, a study of Chopin's pretty trivial to a much more successful Saint Saens (the toccata), through honorable second Scherzo (which itself went from mediocre to more Interestingly, from the trio) and Granados.
In relation to the instrument, and the general economy of expressive means, it can hardly do better in eighteen years. From this point of view, but rather the alternative model Buniatishvili, even if, somewhere, a common quality binds these Georgians (note valid for Inga Fiolia), which is the exclusion of any layer wavering, decorative or building They play in their game, if the music comes out, so much the better, if it does not come out, too bad: the musical will go on no substitute for music. With their strengths and weaknesses, these pianists are almost solely for that reason wonderfully pleasant to listen. This is particularly the case Okrostsvaridze Luka, which offers some ideal vision of what should be the Kinderszenen, cannon from one side of the piano music pushing performers to compensate (in this case the lack of notes to speak). Here we can not have the sensation of missing notes, first, because those are all out with a density natural, then, because driving is a form of passivity superb, all flow and never over-recovery or lineage. Some pieces are absolutely beautiful, moving as liberated from the grip of the usual tedious characterization "cultivated" who massacred so often all starts, and then Am Kamin and Fast zu ernst. Only the last three pieces seem slightly below their intrinsic issues, the economy here expressive flirting with the boundary that separates impalpable shyness. But all this is so healthy and beautiful as it is not serious.
His medley Study will look good enough: the Rachmaninoff are presented in exactly the same logic to the extreme, proactive, with a certain distinction, as in the total absence of théâtrlisation of "Little Red Riding Hood" (and the big bad wolf ): the study takes precedence over the tables and is reduced, which is not so common, in its dimension of pure music, and harmony, leaving the general line rather embellished. There will be a little more research characterization, dynamics and extreme risk-taking visible in Liszt and Chopin, with a little less success in Chopin (but is that surprising?) Okrostsvaridze feeling the need to add a density somewhat superfluous in the major section. Pianistically But, if this minor and Paganini remain at this high level, which was already obvious (obviously obvious) in his Scenes Children . Nice icing on the cake, the young man offers an encore a piece of composition quite worthwhile, so small prelude modal sounds opposite.
 |
| Inga Fiolia |
The other two appearances, those of Irene Veneziano Italian and Russian Elizaveta Ivanova, have been far less convincing. The second does not lack imagination or charm, and unfortunately did little to please those assets, placing it entirely on the opposite side of the same corporation that magnified our two Georgians - I concede that is so much worse ... Characterizations of its Carl Philip Emmanuel are very well seen and felt, but the music definitely still treacherous, no movement of continuity is natural, every silence and every semblance syncope pose an insurmountable problem. The fourth Ballade begins with lots of good intentions and then disintegrates in a continuous and relentless, the prelude to his major Shostakovich gives the best exchange rate, which is not true of the fugue (we will have measure the gap with the D flat major by Fiolia gave an encore, with a hair-raising fugue). Veneziano had in turn been noticed in the last Chopin Competition - then I had already preferred teammate Leonora Armellini, who has it also produced from Tuesdays to Animato. His recital was the merit of going crescendo, a study of Chopin's pretty trivial to a much more successful Saint Saens (the toccata), through honorable second Scherzo (which itself went from mediocre to more Interestingly, from the trio) and Granados.
Addendum - here's the question Kinderszenen:
Theo Belaud
little concertorialiste by Theo Belaud is available under the terms of the Creative Attribution - No -Commercial - Share Alike Alike 2.0 France .
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