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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The concert begins in a disastrous way, with a composition that seems to have been produced by a composition student who has been assigned the task of composing a piece in late ‘700 style. A piece with neither head nor tail devoid of any musical meaning. Having chosen it does not speak certainly in favour of the pianist. Who afterwards performs in a “diligent”  way two nocturnes of Chopin. Without particular praise but also without infamy. Follows the op. 57 of Beethoven. Here the problems begin. Following a “slav” approach the classical sonata of the composer from Bonn is subjected to some variations of rhythm and sonority which are not well-suited to the stylistic setting of the composer. With some technical uncertainties in the “spezzati” arpeggios of the first mouvement following the initial rhythm “puntato”, uncertainties covered by an excess of sonority of the left hand. Much better the second muvemment and in the final rondo it should be emphasized the great display of technique of the finale, performed at an unusual speed. In short, a performance of lights and shadows. While the shadows abound in Schumann’s Carnaval op. 9. It seems that the performance of a “romantic” piece should allow the performer to vary at will and in a dramatic way sonority and rhythms. And it would be to remember that Schumann, along with his wife Clara, was an active member of the mouvement that opposed the transformations of the second half of the 800 that had Wagner as its leader. Certainly technically impeccable (even in the very difficult piece “Paganini”) But with interpretative excesses that find no justification. I would suggest to Fedorova to listen carefully to the execution of Evgenji Kissin, a slavic who, however, has the utmost respect for the score. And here it is not a question of interpretation but the style that must never be crossed. Three encores: the transcription of the dance of fire by De Falla, a famous Waltz by Chopin and finally – senseless choice – a piece of the “Paintings from an exhibition” by Musorgskij. Also the choice of the encore says of the interpreter. Good success of public that often applude the speed as such.

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)!!