![]() ![]() The Nicht Schnell movement for instance is pleasingly but not emotively played. ![]() He may be less obviously ‘innig’ than some of his competitors, and pursue a more untroubled, lightly-hued journey but one senses that Rosen feels the music to be more youthful and innocently conceived than is often the case in more stentorian and melancholic traversals. There’s something dapper about this approach. It’s frolicsome, lightly textured, less chordally powerful, less rubato-enriched. His opening Lebhaft shows the way forward. In Davidsbündlertänze he offers a strong set of alternatives to the more deeply etched, strongly pedalled and textually denser playing of Géza Anda, and also to have ideas definably different from those of his eminent predecessors in this repertoire, Cortot and Arrau, amongst others. He is as ever a natural guide, refusing to vest in the music a weight that unbalances the musical argument. ![]() In this case it’s Charles Rosen’s exploration of the Romantic lineage in a recital recorded back in 1993. Another MusicMasters retrieval emerges from Nimbus. ![]()
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