Articles tagged 'Schumann'
(Dis)Arrangements
The Four Seasons has been deftly mutilated… Richter never forgets that harmony lies at Vivaldi’s core, regardless of repetition or the solo line. I imagine that Hope must hereafter worry he might confuse one for the other in performance.
(Dis)Arrangements
The Four Seasons has been deftly mutilated… Richter never forgets that harmony lies at Vivaldi’s core, regardless of repetition or the solo line. I imagine that Hope must hereafter worry he might confuse one for the other in performance.
The IPC Sound Power
It doesn’t often happen that an audio journalist is among the first in his corner of the world to celebrate a remarkable product line.
The IPC Sound Power
It doesn’t often happen that an audio journalist is among the first in his corner of the world to celebrate a remarkable product line.
Piano Factory 9.
Shepherding the work’s first if not best-documented performance, Cage took Satie’s ludicrous directions seriously and stabled a team of pianists to crank out Vexations’ 840 required repetitions.
Piano Factory 9.
Shepherding the work’s first if not best-documented performance, Cage took Satie’s ludicrous directions seriously and stabled a team of pianists to crank out Vexations’ 840 required repetitions.
Munich Streets and Statues
A brief trip put me in Munich just after Oktoberfest.
String Theory 4: String Orchestras
Ever willful, Pettersson forges sternly lyric melodies in which every pitch counts. Typical of the composer, gorgeous tonal moments, usually cadential, emerge from dissonance.
String Theory 4: String Orchestras
Ever willful, Pettersson forges sternly lyric melodies in which every pitch counts. Typical of the composer, gorgeous tonal moments, usually cadential, emerge from dissonance.
Piano Factory 4.
No desiccated embryos here. The LTM pair enshrines Satie compositions from the early to mid-1890s, the period preceding the ironic collections with the wacky titles.
Piano Factory 4.
No desiccated embryos here. The LTM pair enshrines Satie compositions from the early to mid-1890s, the period preceding the ironic collections with the wacky titles.
Words Fail Me 6.
Avoid this Dowland sampler unless you approached the English Orpheus via Sting’s hit album.
Words Fail Me 6.
Avoid this Dowland sampler unless you approached the English Orpheus via Sting’s hit album.
Conversations in Music
I’m sitting here today with two of the 19th century’s musical giants, Ludwig van Beethoven and Robert Schumann.
Conversations in Music
I’m sitting here today with two of the 19th century’s musical giants, Ludwig van Beethoven and Robert Schumann.
Dear La Folia 13.
The season’s changed and it’s no longer mandatory to light an evening fire. This means music listening unaccompanied by the fan in our wood-burning stove.
Dear La Folia 13.
The season’s changed and it’s no longer mandatory to light an evening fire. This means music listening unaccompanied by the fan in our wood-burning stove.
Random Noise 7: To Be Listenin’ or Not to Be Listenin’
I’m holding a CD (I type with my toes) I recommend to the callow as a glimpse of What Was and, to those as long in the tooth as I, a souvenir of the Great Foolishness.
Random Noise 7: To Be Listenin’ or Not to Be Listenin’
I’m holding a CD (I type with my toes) I recommend to the callow as a glimpse of What Was and, to those as long in the tooth as I, a souvenir of the Great Foolishness.
A Pianist’s Thoughts on Schumann: Symphonic Etudes, Op. 13
The opening chords seem to carry the weight of worldly sadness. A descending arpeggio in C-sharp minor supported by chords succeeds in resisting forward motion, giving the theme its somber beauty.
A Pianist’s Thoughts on Schumann: Symphonic Etudes, Op. 13
The opening chords seem to carry the weight of worldly sadness. A descending arpeggio in C-sharp minor supported by chords succeeds in resisting forward motion, giving the theme its somber beauty.