Even the cats were supremely happy.
Only sad note was when Hugh Mather said the stream was concluded and they were about to have a party to celebrate!
Written in beautiful french with the unmistakable turquoise ink of Vlado`s pen.
But it was not to be.
Illuminated by some superb performances by Fenella Humphreys and Viv McLean.
It is exactly what the BBC used to give us when there was only one chanel and you had to look via a magnifying glass into this wooden box for the few hours that it was available.
What more can I add.
That Bach`s music is based on the song and the dance has never been more apparent than in today`s performance.
Eyes glued to the keyboard but almost dancing on the stool such was the ebulient infectuous rhythmic energy allied to extreme clarity and very telling subtle contrasts.
The great Sarabande was even more expressive with a lack of fussyness or hairpin phrasing.
The Gavotte II was an example to be cherished of pure simple expression.
Can it ever have been given such a chacterful interpretation?
The most remarkable technical feat was in Le Gibet where the relentless tolling of the bell never for a moment wavered even with the clouds of sound in the foreground.The plaintive central chant was played with a clarity and simplicity that was heartrending.
With all the trascendental difficulties it was his superb legato that was the most remarkable thing.
He plunged into the depths of Scarbo`s dark world and gradually emerged with masterly control and breathtaking relentlessness.
The secret that a chosen few are blessed with.
God bless him !
Another beautiful concert streamed across the world into my garden today.Haydn,Liszt,Chopin and Schumann played with great conviction.
But one had the sensation that the picture he was painting and the sounds we were listening to were not related and this could lead to some strangely disjointed playing where the architechtural line was not clear.
But not the usual expression of excess that many Polish pianists would have us believe is the way of playing Chopin.
This is the revolutionary Chopin of Rubinstein where all the sentimentality and sugary sensless rubatos that Chopin’s rich but hopelessly untalented aristocratic pupils would have us believe is the real Chopin style are cancelled once and for all.
I did,after all, have a morning performance of Waiting for Godot and an afternoon performance of famous Italian arias for our chinese tourists who are just longing to embrace the whole Italian Culture scene.
Aristocratic pauses worthy of an Arrau made his virtuosity even more breathtaking.
A great sense of control but above all sense of balance and shape were the hallmarks of a truly exemplary performance.
I remember Freddie Jackson,that almost forgotten musician and teacher of so many fine musicians.He used to tell me how as students they used to stand on the seats to cheer Rubinstein so infectious was his sense of rhythm.
Total control,exquisite sense of colour and phrasing but above all a temperament that could ignite the great virtuoso variations of Corelli’s seemingly innocent melody of La Folia.
Chers Amis, retenez bien ce nom, car le plus grand avenir lui est promis : ANDRZEJ WIERCINSKY
Ce pianiste polonais de 23 ans vient de remporter le 1er Prix du Concours International de Saint-Priest. Quel artiste ! Quel pianiste !
Je suis encore dans le souvenir de son incroyable épreuve finale, cet après-midi, avec la 12ème Rhapsodie de Liszt jouée avec une virtuosité étincelante, un chic, une maestria grisante; suivie d’une 7ème Sonate de Prokofiev comme j’en ai très rarement entendu : orchestrale, dramatique, hallucinée, constamment surprenante par la créativité de l’interprète et la sidérante réalisation instrumentale. Et hier, nous étions plusieurs, dans le jury, à être au bord des larmes en l’écoutant jouer les Variations Corelli de Rachmaninov : quelle classe, quelle noblesse, quelles inoubliables sonorités pour exprimer la mélancolie, la tendresse et les colères de cette œuvre souvent malmenée. Bravo Andrzej !
I remember Cherkassky saying that although travelling the world continuously until well into his 80’s,London was always the indisputed capital for music and the only place to be.
The same physical stature of an Ashkenazy he too looks as though he was born to play the piano.
All his physical movements only underlined the sounds that he was able to conjure out of the piano.
This well used but lovingly looked after Yamaha piano he exclaimed afterwards to Dr Mather how much he had enjoyed playing it.
It is not an easy piano but in the hands of a true musician we can be convinced, as he was, that in that moment it is the only instrument for him.
Richter used to say he did not want to choose a piano but he loved delving into any instrument and learning like a true Don Giovanni the secret path to seduction!