Yulianna Avdeeva’s Playing: Observations

(…) concert performance reminded me of observations I made earlier on when watching Yulianna play the piano — particularly, I think, with music of the romantic period. It has to do with what Yulianna does with her arm & her body while playing — but to explain this properly, let me first go back to one of my early “piano heroes”, the late Friedrich Gulda…


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Beethoven: Violin Sonata op.47

Beethoven: Sonata for Piano and Violin No.9 in A major, op.47, “Kreutzer Sonata” — comparing 11 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)


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Beethoven: Violin Sonata op.30/3

Beethoven: Sonata for Piano and Violin No.8 in G major op.30/3 — comparing 8 recordings: Capuçon/Braley (2009), Faust/Melnikov (2008), Grumiaux/Haskil (1957), Kremer/Argerich (1994), Menuhin/Kempff (1970), Oistrakh/Oborin (1962), Perlman/Ashkenazy (1975), Szeryng/Rubinstein (1961)


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Beethoven: Violin Sonata op.24

Beethoven: Sonata for Piano and Violin No.5 in F major op.24, “Spring Sonata” — comparing 9 recordings: Busch/Serkin (1933), Capuçon/Braley (2009), Faust/Melnikov (2008), Grumiaux/Haskil (1957), Kremer/Argerich (1987), Menuhin/Kempff (1970), Oistrakh/Oborin (1962), Perlman/Ashkenazy (1974), Szeryng/Rubinstein (1958)


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