PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

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 I have been listening to Anderszewsky since 2005 (or approximately) at the Imola concerts and then other times on different occasions and my judgment remains unchanged: an overrated pianist of medium caliber. Appeared  “out of the blue“, that is, without having won any competition (except in 1990 at the Leeds Competition where he retired in semi-finals “because he had not played well”), gifted with a good but not exceptional technique (the florilegium of wrong notes in Bach’s first partita was remarkable) he does not seem to excel in any repertoire. The British would say “very average” and in the concert in question he also performed the wrong repertoire. Performing all 14 Bartók bagatelles is a mistake. Although these are musical gems, the sequence is a disconnected set of pieces that are difficult for the listener after a while. It would be common sense to perform only one set (say 6) to prevent the audience from getting bored. We have already said of Bach: even for the sixth partita the performance was not memorable. Very beautiful are Szimanowsky’s mazurkas performed without interruption after Chopin’s three mazurkas. A reasonable choice since they are two composers of identical origin. But in Chopin’s pieces, Aderszewsky transforms the “rubato” (that small and almost imperceptible rhythmic variation for interpretative purposes, typical of Romanticism) into a “robbed” where excesses distort the musical meaning. A flaw that is all the more serious if found in Chopin’s mazurkas, short compositions where the stylistic peculiarity is that of being, after all, popular songs that can be danced, even if taken to the highest levels. Two encores: a prelude by Bach from Das wohltemperierte Klavier and a Beethoven’s bagatella op. 126. A good success with a small audience.

PS I would kindly ask the readers of this blog to  register  (which implies nothing) which can be easily made  by “clicking” the black square above each post. By so doing they will receive an e-mail message whenever a new post is published.

PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!