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Konstantin Scherbakov takes a radically different approach. Not because he wants to be different, though! He has no need to prove his virtuosity in an olympic effort. His performances of works by Franz Liszt — , and even more so of post-romantic composers such as Sergei Lyapunov — , Sergei Rachmaninoff — , or Leopold Godowsky — give more than sufficient testimony of his virtuosic mastership.

So, here, Konstantin Scherbakov uses an extraordinarily measured, controlled, moderate pace. It is slower than any one recording that I know. As indicated above: a very measured, controlled tempo. It was resting in itself, never pulling ahead, calm in nature. Yet the artist was consequently forming harmonious phrasing arches over each of the two halves. With repeats, of course, as throughout the entire set.


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As expected, phrasing and dynamics were very careful, nothing was superficial, the articulation truthful to the notation, without exaggerations in the staccato. They retained the calm, measured nature of the Waltz, never rushing. The sf marks in the march I avoided extremes.

They merely emphasized notes in a phrase. II was gentle, III serene and gentle, with fond care for the little details in articulation and dynamics. Apollonian clarity and serenity, not through crisp, clear articulation, but in the atmosphere, the spirit: pure joy and delight! One featured punctuated quavers, the other one quaver triplets.

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Konstantin Scherbakov highlighted the dialog with tiny breaks between the two pattern types. The little memory lapse in the second half was evident enough to cause a short, momentary adrenaline spike. Not just presumably with the artist, but with those listening attentively. Variation IX : more alluding to the pesante than really heavy, the volume gently grew, remained controlled in the ff ending. Variation X builds a first, more virtuosic climax. The variation XI is a fresh start, a contemplative flower garden with warm sonority, amiable, lovely.

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Also the Vivace , the attitude in XIII remained controlled, not storming forward, but structuring the variation through distinct agogics, i. At the same time, the articulation was precise but never stubborn in the punctuations, devoid of superficialities. The Presto scherzando XV indeed was sempre pp : delicate, with gentle arches in the slurred segments.

XVIII , was such a beautiful little island between virtuosic pieces, a calm Bagatelle , reflective, pensive, pondering, with blooming emotions!

Piano Sonata No. 4 (Beethoven)

XIX : not primarily brilliant artistry, but binding the cascading broken chords into harmonious phrasing arches. No despair or forlornness in endless agony! At this tempo, the variation keeps its relation to the Waltz theme. Eusebius character.

Barenboim plays Beethoven Sonata No. 4 in E flat Major Op. 7 "Grand Sonata", 3rd Mov.

It is Yarden who strikes the right balance, I think. Her performances are lively, intelligent, and have just the right degree of expressivity Her way with the minuet finale, with its dolorous syncopated trio, is also spot-on. Every sonata seems to spring a surprise, not just musically but compositionally too. If Hamelin again is inclined to overdo the contrasts a little, Jean-Efflam Bavouzet is the most subtle of mischief-makers. The best-known sonata here is the B minor No From the accompanying review to be translated soon : "Mit Finesse und einer sensiblen Tongebung gestaltet sie die meist einfachen Motive, die Haydn mit harmonischen Wechseln und Verzierungen weiterentwickelt.

Here she unveils the freshness and force of inventiveness and newness also with Haydn.

List of compositions by Ludwig van Beethoven - Wikipedia

The playing is clear, precise and finely crafted, and fascinates also with a wide range of colors, delicate dynamics and beautiful relations between the movements This is a CD I will come back to. Nach diesem Album bist du ein Haydn Fan, garantiert. If it gets only slightly academic it looses its strength and gets dull.

This performance is enlightening and exciting".

Ludwig van Beethovens Werke (Beethoven, Ludwig van)

Daniel Rowland, Diskotabel Radio 4. Yarden shines with a delicate and disarming frankness as well as transparent simplicity This is a fine recital, which can safely be taken as a prime recommendation for enlarging your collection. Einav Yarden spielt einen blitzgescheiten Haydn, voller Witz und Reichtum, mit leichtem, variablem Anschlag.


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Yarden spielt nicht so gehetzt, wie es bei Hamelins Haydn-Aufnahmen bisweilen erscheint; sie spielt feingeistiger, finessenreicher als Ekatarina Dershavina bei ihrer Gesamteinspielung, Yardens stilistischer Platz gliedert sich am ehesten nah bei Yevgeny Sudbin und im Weiteren im Umkreis von Brendel und Schiff ein. So kann sich die Melodie gesanglich entfalten, weil gleichzeitig die Assistenz der linken Hand klug dosiert wird. Okay, she gets a lot of help from Joseph Haydn, the classical master who was a mentor to Mozart and teacher of Beethoven.

Her tools are hills and valleys of dynamics, extra little split-seconds of rests followed by cascading notes, and a robust bass line that matches left-hand articulation to the right-hand filigrees. XVI 24 and She plays gracefully and elegantly with an expressive, spiritual and extremely ornate script, complete with tasty frictions, imitations in canons, sharp trills, leaping drums, and cascades of sextuplets.


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  • In but a few brief pages, conceived organically with long arches, the former student of Leon Fleisher reveals her character: complete respect for rhythmical values and patterns, an understanding of phrasing that is both sharp and unfailingly followed through, awareness of form, a strict organization plan, due care for timbre, sound, and precise pedal usage. Her attention is instinctively drawn to the overall structure, rather than to impeccable finger technique per se.

    The Sonata in G major by Schubert D.

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    She has a wide repertoire of motifs, and casts different lights as she brings them to us. The changing narrative, climate and psychology are incrementally encapsulated by the modulations of the text itself, via harmony instead of by resorting to artifice. Yarden was highly acclaimed; sang Widmung with the same spontaneous impetus, as successive waves surged.

    April 7. Maurice Ravels Valses nobles et sentimentales von boten Yarden eine Gelegenheit, ihre lyrischere Seite zu zeigen. Dieses lebhafte, kantige Werk aus dem Jahre man stelle sich kubistischen Jazz mit russischem Akzent vor wird selten gespielt, und Yardens schnelle, lebendige Lesart erweckte es zum Leben. Her finger work is immaculate: every demisemiquaver 32nd note scale in this movement and there are many of them is placed with complete clarity and fluency.

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