There's far too much to praise, here, so I'll limit my comments to the sonata. I've loved it, inordinately, for over fifty years and have far too many recordings. I've now listened to this performance several times, and I've never heard the piece make such perfect sense. From the first chords--hushed, spacious, suspenseful--I know I'm going to hear a dramatic story. Rachmaninoff abandoned the Faust program; yet I've always heard the piece as a Faustian narrative. A narrative is just what Ms. Korepanova gives me. The first movement (Faust) isn't the all-too-common technical display; it's a human story, a love story. Korepanova's prodigious technique is subordinate to her passion. The second movement (Gretchen) is meltingly feminine and the other half of the love story. It's not until Mephistopheles makes his appearance in the third movement that "all hell breaks loose." Yet the movement is once more dominated by humanity, which Korepanova portrays with heart and empathy. When themes from the first two movements return, she plays with such tender contrast to the maelstrom of the Mephistopheles music that the struggle is really no contest. (This reminds me of the Andante from Beethoven's 4th Concerto, when tenderness defeats bluster. Of course it does.) We are ready for the redemptive conclusion. This is the most musical , understanding, and communicative performance of this music that I've heard. It convinces me that the performer has understood the composer's intent; she conveys it to me superbly, memorably, thrillingly.
such a puny-ass response for such an intense and magnificent interpretation, come on audience, you are deader than disco, beware of showing your human side
Asiya, phenomenal! What an immense musical experience you've gifted us!
13:15 for rach cello sonata
There's far too much to praise, here, so I'll limit my comments to the sonata. I've loved it, inordinately, for over fifty years and have far too many recordings. I've now listened to this performance several times, and I've never heard the piece make such perfect sense. From the first chords--hushed, spacious, suspenseful--I know I'm going to hear a dramatic story. Rachmaninoff abandoned the Faust program; yet I've always heard the piece as a Faustian narrative. A narrative is just what Ms. Korepanova gives me. The first movement (Faust) isn't the all-too-common technical display; it's a human story, a love story. Korepanova's prodigious technique is subordinate to her passion. The second movement (Gretchen) is meltingly feminine and the other half of the love story. It's not until Mephistopheles makes his appearance in the third movement that "all hell breaks loose." Yet the movement is once more dominated by humanity, which Korepanova portrays with heart and empathy. When themes from the first two movements return, she plays with such tender contrast to the maelstrom of the Mephistopheles music that the struggle is really no contest. (This reminds me of the Andante from Beethoven's 4th Concerto, when tenderness defeats bluster. Of course it does.) We are ready for the redemptive conclusion. This is the most musical , understanding, and communicative performance of this music that I've heard. It convinces me that the performer has understood the composer's intent; she conveys it to me superbly, memorably, thrillingly.
What a wonderful recital! Thanks especially for the Sonata, and for your terrific transcription of the Cello Sonata.
Me encantaaaa
She's a very good pianist.
Excepcional ;artista ,mujer , inteligencia, ........,! ?!
such a puny-ass response for such an intense and magnificent interpretation, come on audience, you are deader than disco, beware of showing your human side
Peeero la transcripción de la sonata carece de emoción sin el cello