For me, it's the slow movement that stands out. How does she achieve that eerie telepathic union with the woodwind players? And of course the endlessly elaborated hemiola is hypnotic.
Do you know the Rachmaninov Etudes-Tableaux? They're quite extraordinary, although the fine details are what make them so, and very few performers manage to convey them. Here are two breathtaking exceptions: http://bit.ly/2rdhAT4 /http://bit.ly/19ahBXc
-
-
I wish Anna would perform the etudes-tableaux. She has promised me that she will learn and program the first piano sonata, though, so that's enough for me.
-
Also, worth nothing: Rachmaninov wrote a huge amount of vocal music (more than just about any of his contemporaries) and lots of large, ambitious sets of variations (ditto.) I have always felt that the composition of variations is where you see the true measure of a composer.
End of conversation
New conversation -
Loading seems to be taking a while.
Twitter may be over capacity or experiencing a momentary hiccup. Try again or visit Twitter Status for more information.