Sticking with the Rhapsody on a theme of Paganini (see last week), people often wonder how what is undoubtedly the most famous bit of the piece, the 18th variation, is derived from Paganini’s theme. How, in other words, do we get: w from w The technical name for what happens is ‘inversion’ and it’s to do […]
w This is the piano part of variation 7 of Rachmaninoff’s Rhapsody on a theme of Paganini. As you can hear, the music has little to do with Paganini’s famous melody; in fact it’s a entirely new element in the work, but one that Rachmaninoff had used previously and was to use again in the […]
Hacking at scores has, I think, become less popular at the end of the twentieth/beginning of the twenty-first century. There was a time when anything that was perceived as overly long and/or liable to try the limited patience (or was it concentration?) of the audience had bits surgically removed to make it, seemingly, more acceptable. […]
Compared to their more populous cousins for piano or violin, cello concertos are relatively thin on the ground. There are, for example, no cello concertos by Mozart, Beethoven, Mendelssohn, Bartók, Brahms or Tchaikovsky. But what the cello repertoire lack in quantity it certainly make up for in quality: think of the Haydn (two of them […]
No-one can resist the ravages of time and, as you can tell, the difference between ages 22 and 65 was, in the case of Alexander Glazunov, of some significance. (The pose is interesting: is it an habitual stance or is the older man consciously imitating the famous Ilya Repin portrait of him that you see […]
Pablo Casals speaking of the Schumann Cello Concerto: It is one of the finest works one can hear – from beginning to end the music is sublime. This, the first of the great romantic cello concertos, gives us a chance to compare the playing/interpretive skills of an older generation of cellists (Gendron, Piatigorsky, Fournier, etc.) – […]
It would be very unfair to compare the Schumanns’ piano concertos (both in the same key, a minor) with one another. One (Clara’s) is the – albeit brilliant – work of a teenager, while the other is the product of a 35-year-old, mature composer at the height of his powers. What is indisputable, however, is that Clara’s […]
