Jean Rondeau — Harpsichord Recital, Zurich, 2022-04-10
Concert review, ★★★★★, Harpsichord Recital Jean Rondeau @ Kirche St.Peter, Zurich, 2022-04-10 — Johann Sebastian Bach (1685 – 1750): Goldberg Variations, BWV 988
Blog post #609 — #rolfsmblog •
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Klavierissimo 2022: Eliane Rodrigues — Piano Recital, Wetzikon ZH, 2022-02-24
Concert review, ★★½, Eliane Rodrigues @ KZO, Wetzikon ZH, 2022-02-24 (Klavierissimo Festival 2022) — Chopin: 24 Préludes, op.28; Beethoven: Symphony No.5 in C minor, op.67 (transcr. Liszt)
Blog post #603 — #rolfsmblog •
Lisiecki, Poschner, OSI — Stadtcasino Basel, 2022-02-14
Concert review, ★★★★, Jan Lisiecki, Markus Poschner / Orchestra della Svizzera Italiana (OSI) @ Stadtcasino Basel, 2022-02-14 — Prokofiev: Piano Concerto No.2 in G minor, op.16; Tchaikovsky: Symphony No.6 in B minor, op.74, “Pathétique”
Blog post #597 — #rolfsmblog •
Bach: “Sei Solo”, Sonatas and Partitas for Violin Solo — Comparison Summary
Media review — Bach: The Sonatas and Partitas for Violin Solo (Sei Solo) BWV 1001-1006 — Comparison Summary, Artist and Media Information. 26 artists / 28 recordings, from historic to HIP: Kreisler (1926), Menuhin (1936), Szigeti (1956), Grumiaux (1961), Szeryng (1967), Kremer (1980), Zehetmair (1982), Schröder (1985), Paternoster (1995, cello), Huggett (1997), Podger (1999), Kremer (2002), Tetzlaff (2005), Mullova (2008), Baráti (2009), Faust (2009), Ibragimova (2009), Khachatryan (2009), Beyer (2011), Pietsch (2011), Busch (2012), Faust (2012), Bohren (2017), Carmignola (2018), Pochekin (2018), Aldemir (2019, viola), Cotik (2019), Hadelich (2020)
Blog post #585 — #rolfsmblog •
Shostakovich: Preludes & Fugues op.87
Dmitri Shostakovich, Preludes & Fugues op.87: comparison, recordings by Tatiana Nikolayeva (1962), Boris Petrushansky (1992/92), Vladimir Ashkenazy (1998), Konstantin Scherbakov (1999), and Alexander Melnikov (2009)
Truthfulness and Authenticity in Interpretation? A Reflection
Blog post #473 — Truthfulness and Authenticity in Interpretation? A reflection about the (potential) conflict between authenticity towards the composer’s will and an artist’s “authenticity” in the sense of truthfulness to one’s genuine interpretation. The effect this has on the credibility of an interpretation.
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