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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Angela Hewitt’s pianism is smooth and perfect but this is perhaps its limit. Everything unfolds predictably without accidents but also without elements of excellence. Engaged in two compositions that are perfectly suited to her musical conception, she produced a performance much (perhaps too) praised by the public which loves pieces it knows, especially from the baroque and romantic panorama. A pianist, however, who has made the classical repertoire (up to Beethoven) her symbol and who has entire repertoires to her credit (Mozart, Bach and Beethoven). Supported in this case by a high quality ensemble which followed her with great perfection throughout the entire musical partiture. (A small gloss on the role of the Konzermeister. To be able to exercise – at least in part – a conducting function, the piano should be without the lid with the Konzermeister with his back to the audience. Even in this way the incidence is low because obviously the direction is exercised only when the soloist is not engaged in the performance and therefore occasionally. If the piano is instead placed in a traditional way, the only thing the pianist can do is reach out to the rhythm of the music without impacting the orchestra which – at least in this case – would absolutely not need it). Orchestra that gave an excellent account of itself in the Mozart symphony, certainly not one of the masterpieces of the Salzburg composer. The concerto was completed by the beautiful concerto for horn and orchestra. In this case the horn player’s performance was not immaculate (the horn is a notoriously treacherous instrument) and made other horn players like Barry Tuckwell to regret. Success however guaranteed as indicated previously. A Bach encore by Hewitt with the orchestra which was rightly thanked with a  choral applause where the pianist indicated that she was part and not the star of the ensemble.

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)!!