Piano Recital Alice di Piazza — Wetzikon ZH, 2019-02-02

Blog post #465 — Concert review, ★★½, Piano Recital Alice di Piazza @ Wetzikon ZH, 2019-02-02 (Klavierissimo Festival 2019) — Brahms: Chorale Preludes op.122/ 6 & 10; Schumann: Two Romances from op.28; Brahms: 7 Fantasias, op.116
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Viviana Sofronitsky — ETH Zurich, 2016-05-17

Concert review: Viviana Sofronitsky in a recital at ETH Zurich, 2016-05-17, playing on five replicas of historical pianos / fortepianos (after Stein, Walter, Graf, Pleyel, and Boisselot) by Paul McNulty, Divisov CZ — works by C.P.E. Bach, Mozart, Beethoven, Schubert, Chopin, Liszt


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Beethoven: Piano Sonata No.26, op.81a, “Les Adieux”

Beethoven: Piano Sonata No.26 in E♭ major, op.81a, “Les Adieux” — comparing recordings with the following artists: Wilhelm Backhaus (1961), Paul Badura-Skoda (1969), Daniel Barenboim (1984), Ronald Brautigam (2007), Emil Gilels (1984), Friedrich Gulda (1967), Arthur Rubinstein (1940 and 1962), Artur Schnabel (1935)


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Gutman, Zander: Shostakovich, Dvořák, Bartók — Lucerne, 2015-06-29

Natalia Gutman played with rich rubato, exploring the depth, the melodic strength of Dvořák’s composition with her dense, soft and singing tone (…) often, in lyrical passages, the soloist appeared completely immersed into the music, listening and playing with closed eyes (…)
The fourth movement, Allegretto, “Intermezzo interrotto” is rhythmically intricate, playing with Bohemian folk melodies — in typical Bartók / Hungarian manner, the meter is changing almost from bar to bar, leaving western ears “hanging in mid-air”: the orchestra’s playing was very good and appeared almost effortless.


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Beethoven: Piano Sonata No.31, op.110

Comparing recordings with the following artists: Wilhelm Backhaus (1966), Paul Badura-Skoda (1969), Daniel Barenboim (1984), Ronald Brautigam (2008), Emil Gilels (1985), Friedrich Gulda (1967), Igor Levit (2013), Maurizio Pollini (1976), Svjatoslav Richter (1965), Artur Schnabel (1935)


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Piano Recital Konstantin Scherbakov — Zurich, 2015-03-24

… while for the past two decades the artist is mostly pictured with an earnest, maybe “Beehovenian” / titanic, somewhat closed facial expression, in the concert (which he presented with a mostly relaxed, yet controlled body language) his face hinted at a wealth of emotions — and his playing struck me as a prime example of the “big Russian Piano School” …


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