All just my personal opinion
Concert review, ★★★★, Can Çakmur @ Druckerei Baden (Piano District), Baden AG, 2022-11-19 — Mozart: Sonata No.13 in B♭ major, K.333; Schubert: Sonata in A minor, D.845; Liszt: Fantasy and Fugue on the Theme B-A-C-H, S.529/2; Mitropoulos: Passacaglia, Preludio e Fuga; Busoni: Transcription of Bach’s Chorale Prelude for Organ “Ich ruf’ zu dir, Herr Jesu Christ”, BWV 639 / BV B 27/5
Blog post #633 — #rolfsmblog •
Concert review, ★★★★★, Tetiana Shafran @ Alte Kantonsschule, Zurich, 2022-10-22 — Beethoven: Piano Sonata No.2 in A major, op.2/2; Ravel: Sonatine, M.40; Chopin: Rondo in E♭ major, op.16; Chopin: Nocturne No.17 in B major, op.62/1; Liszt: Ballade No.2 in B minor, S.171; Liszt: Étude No.3 G♯ minor, “La Campanella”, S.141/3, from 6 Grandes Études de Paganini; Lysenko: Elegie
Blog post #627— #rolfsmblog •
Concert review, ★★★★½, Oxana Shevchenko @ Gartensaal, Villa Boveri, Baden, 2022-09-18 — Beethoven: Piano Sonata No.18 in E♭ major, op.31/3, “The Hunt”; Brahms: Piano Sonata No.1 in C major, op.1; Debussy: Estampes, L.100; Rachmaninoff: Lilacs, op.21/5 & Daisies, op.38/3; Stravinsky: Trois mouvements de “Pétrouchka”; Tchaikovsky: X. Octobre from “Les Saisons”, op.37a (Encore)
Blog post #626 — #rolfsmblog •
Beethoven: Sonata for Piano and Violin No.9 in A major, op.47, “Kreutzer Sonata” — comparing 12 recordings: Busch/Serkin (1941), Capuçon/Braley (2009), Faust/Melnikov (2008), Grumiaux/Haskil (1957), Kremer/Argerich (1995), Menuhin/Kempff (1970), Mullova/Bezuidenhout (2009), Oistrakh/Oborin (1962), Perlman/Ashkenazy (1975), Perlman/Argerich (1998), Szeryng/Rubinstein (1958), Tur Bonet/Vişovan (2020)
Concert review, ★★★, Danae Dörken @ Lukaskirche, Lucerne, 2019-11-21 (Lucerne Piano Festival, Debut Series) — Debussy: “Images”, Book I; Bartók: Romanian Folk Dances, Sz 56 / BB 68; Poulenc: 8 Nocturnes, FP 56; de Falla: Fire Dance from “El amor brujo”; Chopin: Piano Sonata No.3 in B minor, op.58
Blog post #523 — #rolfsmblog •
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.
#rolfsmblog