Word: pianists
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Dates: during 1990-1999
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...Guest pianist Lief Ove Andsnes, however, captured much of the sincere passion of the piece with a dramatic enthusiasm that enraptured the audience. Born in Norway in 1970 and entering the Bergen Music Conservatory in 1986, Andsnes has gone on to perform with some of the most renowned orchestras and in some of the most prestigious music festivals in the world. Watching the music fluidly spill out of his hands, notes tumbling around the stage like small explosions of glitter, it becomes easy to understand how his success has reached the point that it has. The sprightly romance of Schumann...
...Deacon, director of catalogue exploitation for Philips Music Group in Amsterdam, is one of those people blessed with the sort of memory for facts usually on display when 14-year-olds argue football trivia with their elders. Ask Deacon about a recording of a composition by a particular pianist, and he will rattle off all the details: the record label, the date and place of the recording, possibly even the precise microphone placement for the session. It's also likely that the recording will be in Deacon's personal collection of 25,000 LPs and 10,000 CDs. So when...
...music in the same way that a caf‚ au lait manages to retain the integrity of a shot of espresso but just in a more subdued manner. The reward of this "quiet" performance was evident for all who listened carefully. The piano-playing abilities of renowned German pianist Christian Zacharias were both impressive and compelling. Especially touching was the way he handled the "Adagio." Zacharias's ability to juxtapose articulation with lyrical continuity was particularly shown in this movement. His fingers and notes were light, breezy and even playful at times...
...rondo finale was more or less nondescript. Ohlsson's dynamics seemed to lose subtlety here, and the first melody assumed an unseemly complacency. The movement offered a strange glimpse of what sort of Schubert pianist Ohlsson might...
...Waltzes are basically failsafe for any equipped pianist, but one might have hoped for a bit more gusto from Ohlsson, whose suavity in these three miniatures was at times offputting. The Minute Waltz (at 1:53, mind you) sounded tossed-off, although with a hilarious ending, and the third of the set had nothing to recommend it. Only the ravishing C-sharp minor, trademark of Rachmaninoff and Rubinstein, demanded close listening. Ohlsson privileged the left hand at times when other pianists wouldn't, and sculpted a middle voice between the melodies...