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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Winner of an elusive Venice competition (I think that in the world there are dozens of competitions born only for the desire to be in the limelight). Serious competitions can be counted on the fingers of two hands: the rest is fluff. Menegardi presents himself with a respectable program but without respect for the program. His is an immature and aggressive pianism made up only of virtuosic and muscular settings where the music peeps out only a few rare times. It begins with Debussy: the fair-like atmospheres of Pagodes in the Estampes are only a vague memory: the approach is always vigorous and unnecessarily virtuosic. Jardins sous la pluie becomes Jardins sous la grèle where all the subtle rhythmic and stylistic play simply disappears in a colorless “mezzoforte”. Let’s move on to Liszt. The dark “incipit” of the lecture, punctuated by the menacing retorts, is simply cancelled out by a frenzied desire for speed for which the piano’s double escapement is not enough to allow it to be identified and the hasty desire to reach the explosion of the crescendo takes away all the musical meaning. It would be useless to further examine the pieces performed (even poor Mendelssohn becomes a gymnasium for gymnastic exhibition) not to mention, of course, Rachmaninov. In a singular way, the second of the three Etudes-Tableax was perhaps the best performed piece of the concert, which “inevitably” receives the applause of an incompetent audience: it is enough to play loud and fast (and with some not uncommon inaccuracies) that the clapping is guaranteed. At least two encores (after the second one I left the cloister): Domenico Scarlatti’s famous toccata in D minor (the one with the retort, not impeccable – Menegardi should listen to Marta Argerich’s performance to understand how it should be performed) and the eighth etude op. 10 by Chopin (the music simply absent – could have been one of Czerny’s “great speed”). Menegardi’s musical destiny is that of many young people who quickly disappear into the shadows, such as Roberto Cappello, who won a serious competition – the Busoni – in the 70s.

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)!!