#rachmaninoff
Sergei Rachmaninoff, December 10, 1918
Portrait photograph by Arnold Genthe (American, born Germany; 1869–1942)
Glass negative
Library of Congress, Washington, D.C.
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Valentina Lisitsa writes:
This is in dedication of all sufferers and victims of COVID epidemic - to those who lost their lives, to those who lost their family members, friends, to those who lost their jobs, roof over one’s head, food from the table…. It has been a terrible year for all of us, and it’s not letting go. Will our lives return to normal? Or it will be a “new normal” - empty streets, closed cafes, empty seats in concert halls, private concerts for privileged few and “virtual experience” - for the rest? A musician, an artist, a tour guide - will our skills, our talents be needed ,or - as one politician suggested - we need to look for new jobs? I always believed that music is NOT entertainment, it has healing powers for those in need, not very different from religion. I hope I am right. Love to you all! ❤️ We shall overcome.
Recent artworks.
Ember Gleams - Piano Music 8 (live at the studio), Nov 15, 2017
http://www.youtube.com/embergleamshttp://www.instagram.com/embergleamshttp://www.facebook.com/embergleams
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Ember Gleams - Peculiar Children {Dec. 7, 2016}
“I used to dream about escaping my ordinary life, but my life was never ordinary. I had simply failed to notice how extraordinary it was.” - Jacob Portman
Rachmaninoff:Piano Concerto No. 2, Op. 18 - II. Adagio sostenuto
Krystian Zimerman, piano
Boston Symphony Orchestra | Seiji Ozawa, conductor
My first musical undertaking for the semester: accompanying my friend at a concerto competition. This is my first time serving as an accompanist. The experience so far has felt pretty low-key in the sense that I’m not in the spotlight, but definitely not low-key in the sense that the accompaniment plays a crucial role in the flow of the music and, more importantly, in how well the soloist performs.
God knows how many times I (and probably you) have heard Rachmaninoff’s famed Piano Concerto No. 2, but being the accompanist has revealed to me that I don’t really know this concerto front-to-back like I thought I did—and that my classical listening experiences have become jarringly passive. Both for this concerto and for many other pieces, I pay close attention to melodies, but take for granted the harmonic progressions supporting them; I can recognize instruments, but often do not understand how all of the voices in the orchestra interact with each other in complex dialogue and polyphony. I am also learning firsthand how difficult it is to translate woodwind and string textures to the piano.
So, lessons for the future: accompanying can reveal both previously uncovered insights about a piece of music and unsuspecting areas for improvement in your own piano playing.
Anyhow, my friend/soloist sent me the above recording because of Zimerman’s particularly clean sixteenth notes, which start at around 6:58. Overall, this is just an amazing performance with an all-star cast that demands to be heard.
