Word: keyboard
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...inside as well as the outside of the piano. In Love No. 2, he riffles the strings, producing a wiry thring that scrolls around Charlie Haden's bass. With more songful tunes, such as Everything I Love and Margot, he applies his agile touch to the keyboard and produces some lyrical, tender moments reminiscent of Bill Evans' playing...
NIELSEN: PIANO MUSIC (RCA Victor). Keyboard music was incidental to Nielsen's career, but this lustrous release echoes most of his compositions at their very best. British Pianist John Ogdon is ideally suited to his assignment. His calm, intelligent performance gives coherence to Nielsen's sometimes aggressive brilliance, and in quiet, crystalline passages, such as the finale of Chacone, he achieves a purity of tone reminiscent of the late Walter Gieseking...
MOZART: PIANO CONCERTOS NOS. 13 AND 17 (Columbia). French Pianist Philippe Entremont, 34, makes his recording debut as conductor in addition to playing the piano solos. There is plenty of precedent for the dual role: Bach at the keyboard, Mozart at the violin, playing and leading simultaneously. Entremont the conductor picked Mozart "because of the relatively small forces involved and the relatively simple rhythms," but it is Entremont the pianist who makes this a masterly record. Set off by the responsive but docile Collegium Musicum of Paris, his special gifts of musical veracity and taste enhance familiar music and make...
Actually, the efforts of these people to "swing" is doomed to failure because they have continued to use the modern keyboard fingering. As a result, they can produce only the same da da da da rigidity that has led 90% of the public to detest Bach. The real baroque fingering style of Bach was reputed to sound like a conversation. Anyone can restore the "speaking-swinging" style to Bach by singing it with the old flute tonguing: did'll did'll, or even the scat syllables: da ba da ba of the Swingle Singers...
...serial technique stand in the way of red-blooded musical drama. His concerto is full of mellow drama as well-racing scales, rushing rhythms and suspenseful pauses, after which, sometimes, nothing much follows. Nevertheless, orchestral color is beautifully provided by the Boston Symphony under Erich Leinsdorf, and flashy keyboard fireworks are brilliantly set off by the young Brazilian pianist Joáo Carlos Martins...