Label: Philips - 426 660-2 • Series: Philips Silver Line Classics • Format: CD Album, Compilation, Reissue • Country: US • Genre: Classical • Style: Modern
Stephen Kovacevich b. He was born in California and changed his name to Stephen Bishop 3 when his mother remarried. To avoid confusion with the singer-songwriter and guitarist Stephen Bishop, the pianist started performing as Bishop-Kovacevich in the mid-seventies.
In the first place, Beethoven conquered the music metropolis of Vienna as a pianist. And thus he created the majority of his masterpieces for piano in his chosen country of adoption: his piano sonatas, his Diabelli Variations, and also his five great piano concertos. Contrary to what the opus numbers lead us to believe, Beethoven already began work on the composition of his Piano Concerto No. The London Symphony Orches after years of rewriting, and no less than four different versions, did he publish the work in its final form, as we know it today.
The work, Andante - - Bartók* / Stephen Bishop Kovacevich* teeters on the brink between the traditions of the past and the innovations of the future, is mainly geared towards its traditional forebears, Micha Marah - El Caballero / Wat Is Het Ver the concertos by Mozart; however, in some aspects it already goes its own way. The traditional elements consist mainly of the relatively meagre instrumentation lacking in clarinets, trumpets and timpanithe by and large lyrical character of the music, the themes which are Die Hard The Hunter - Def Leppard - Pyromania lacking in innovation, the conventional structure and, last but not least, the isolated parallel treatment of soloist and orchestra.
The stylistic novelties include the power of expression, the deeply moving middle movement, the double developments of thematic material and also the syncopated rhythm. The first movement Allegro con brio follows the traditional form of the double exposition.
The pianistic passage and figure work of the pensively hymnal middle movement Adagio is most captivating and has — this, too, in a totally non-traditional manner — a strongly dialogue-type structure.
The Finale, a cheerful and endearing Rondo, forms a humorous farewell. Although Beethoven had already carved out new paths in the genre with his only minor concerto No. All the more as his virtuoso and emotional Piano Concerto No. In the G major Concerto, both virtuoso piano-playing and the desire for innovative composition are reflected with absolute clarity. The expansion of the orchestra undertaken here is anything but superficial; rather, it signifies an increase in The London Symphony Orches intensity of expression.
The show of virtuosity, which so far had been openly exposed, is included here within the possibilities of the motive and thematic processes! The symphonic and concertante principle are fused together: both sides — soloist and orchestra — are no longer opposing each other, but have become partners, who represent the social principles of the individual and the collective.
The first movement of the G major Concerto already sets the lyrical undertone of the entire work. The opening by the piano! The Andante, however, takes another tack: here, in what is normally the refuge of the lyrical, suspense and tension — which so far had been lacking — are picked out as a central theme: a cantabile melody in the piano encounters brittle and meagre answers in the strings.
The tension which has now built up is resolved only in the Finale, which immediately follows Schicht - Raphael Vanoli - Bibrax fortissimo trill: this is a Rondo, which fades away in a partly restrained, partly cheerful manner.
Stephen Kovacevich or Bishop-Kovacevich. A little on the light side compared to those who pound out their Beethovens some would think. I have not yet listened to this in its Mch, but the 2ch segment is so lifelike, I may not ever make the effort to find an Mch player to hear it.
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