Wow! This is so good! Thank you for finding/sharing this
Well, right now I'm listening to your Bach video, but it has quit playing now, so I hope it's okay to post this. I don't know how to embed videos, so I'll just do it the way I know how.
woah, woah ... Richter baby ... Chopin, Ballade no. 1 in g minor. This is an inspired performance! This is really electrifying! My goodness!!! *doesn't just clap, but bows to Richternessness*I have officially just fallen into love with Richter, after a lifetime of never having been in love with him before Horowitz is next. What if I don't like his recording after listening to Richter's crazy amazingness?*feels nervous deep inside*
Okay, I don't foresee myself posting for everybody I listen to, but I *have* to remark about Michelangeli, he sits *low*! The keyboard portion is practically at his chest! What the? Does he have short arms? Long torso?
Welcome to the club! He is my very favorite pianist, Sviatoslav Richter. Unfortunately though I was a big Horowitz fan as a youth, and he had much influence on my development, once I got Richter I've had a difficult time listening to Horowitz. Granted Richter is not the only reason for this...I think I just grew past Horowitz.
Sadly, he hasn't had either for some 16 years now, but yes, he did adopt a low position at the keyboard, rather as Glenn Gould did. It's a matter of personal preference, I guess. One of ABM's pinncipal heroes as a pianist was Rakhmaninov, whose seating position at the piano was nevertheless quite different, but of course SVR was a fair bit taller than most of us anyway! You'll doubtless also notice that ABM's physical stance at the piano is about as economical as it gets - the smallest possible amount of facial muscle movement (i.e. almost none) and just enough movement of other muscles to achieve what he wanted to achieve - in other words, one of the world's least demonstrative pianists (and in this he was a good deal more akin to SVR). Sadly, I only heard ABM live twice...Best,Alistair
Havergal Brian, symphonies 20 and 25. The strange, highly individual, disturbing power of this man's music continues to impress me. It's as if he is wandering desperately through a huge, forbidding building of rooms of memories, finding neither goal nor comfort. To think these amazing, eldritch, visionary landscapes of the mind were conceived by a man in his eighties and nineties, living quietly in a pensioner flat by the sea. It should give us all hope.
I see the Abegg Variations in m1469's repertoire section.