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In Reply to: RE: Three more left to play their Mozart Concertos - Julia just finished posted by Chris from Lafayette on June 25, 2015 at 09:14:26
We're keeping to our predictions that we made above.
One big disaster occurred near the end of the exposition of the K. 467 ("Elvira Madigan") Concerto, as played by Mikhail Turpanov (who else?). Turpanov had a big memory slip and was floundering for a few seconds. Somehow, he weaseled out of it and the orchestra came in at the right time, avoiding a pause (re-start) in the performance. Kudos to the orchestra! (And it just confirmed Turpanov's place on the bottom of the list of competitors in this round as far as we're concerned.)
Also, we feel very strongly about the following four candidates, and we'll state that if they don't get in to the finals, then something is very wrong:
Lucas Debargue (France - Yamaha)
Lukas Geniusas (Russia/Lithuania - Steinway)
Daniel Kharitonov (Russia - Steinway)
George Li (USA - Steinway)
One last thing: although I hated the non-vibrato playing of the strings of the MCO, at least they did have a lot of babes in that orchestra - love the concert-mistress (and the intensity of her expressions), and the second oboist was a cutie too (a bit like Madeline when she was that age!).
Follow Ups:
So if you'll indulge me so I can crow a bit, here are the piano finalists, just announced a couple of minutes ago, in the Tchaikovsky Competition:
Lucas Debargue (France - Yamaha)
Lukas Geniusas (Russia/Lithuania - Steinway)
Daniel Kharitonov (Russia - Steinway)
George Li (USA - Steinway)
Dmitry Masleev (Russia - Steinway)
Sergey Redkin (Russia - Yamaha)
So. . . as you can see, both Madeline and I called five of the six correctly. And the sixth finalist, Redkin, was actually on both of our lists too until we demoted him after his Mozart performance. (I guess his Mozart performance was less of a determinant as far as the jury was concerned - or maybe they just thought he played the Mozart better than we did.) In a way, this was an easy one to call, since four of the competitors were clearly superior to the rest of the field. It was only the fifth and sixth positions that were open to more "interpretation" and argumentation.
In the finale, the competitors will play two concertos, one of which has to be by Tchaikovsky (only the first or second - the third is not allowed), and five of the six finalists will be playing the Tchaikovsky No. 1, with Geniusas playing No. 2. There are two days of rest now, with the final round revving up on Sunday.
I'm not listening to five Tchaik 1s, even if the concertmistress is a babe. I leave the rest in your and Madeline's capable hands, and am confident you will produce a good report after it's done.
Not sure if I'm looking forward to it myself! ;-)
BTW, I did read your linked article (above) about clarinet vibrato, and, yes, it WAS interesting. The only thing I would add is that clarinet vibrato has been a feature of the special woodwind sound of (for instance) the Czech Philharmonic, I think, ever since the days of Talich (certainly since the days of Ancerl!). And listeners have prized this tone quality of the orchestra for as long as I've been aware of it. For instance, when cellist Julian Lloyd Weber and Philips arranged to make a recording of the Dvorak Concerto with the CzPO, and arrived for scouting and first rehearsals, the conductor at that time, Vaclav Neumann, told Weber and the engineer that they might have to get used to the sound of the woodwinds, compared to those in other orchestras. Weber answered, "We love those woodwinds - that's why we're here!"
And finally,regarding babe concertmistresses, I don't think the MCO will be used for the "big gun" concertos in the final round. Maybe we'll get lucky and they'll have an orchestra with a babe concertmistress AND vibrato! ;-)
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