![]() Rests between the small figures add to the breathless quality of the music, to the motion and angst. ![]() Measure 7, agitato, offers snippets of melody over broken chords in the bass. The resolution at measure 5, doppio movimento, or double time, grows out of the introduction organically into an agitated romp as if through a dark forest. Next an accented chord – C#-G#-C# – still in the bass slowly resolves to the V of I and suspends us there momentarily – so much foreboding in the span of four measures. Hard to beat his recordings of his own works, though.Like a graveyard bell a long-held octave in D flat plummets a 7th below and heralds the opening of the first movement. I've heard Rachmaninov's recording of the B-flat minor sonata, and while it's certainly very good (if not technically flawless - but then which pianist is/was? Even Hamelin isn't perfect ), some of his interpretations didn't quite sit well with me. He tends to make a specific point of making repeated sections sound different second time through, and though he overdoes it sometimes (he really stabs some of his accents), it's still better than hearing the same thing played the same way twice. ![]() Although it's probably not what Chopin intended, he takes the tempo of the scherzo from the B minor sonata down a step for the B major section, which I think makes a nice contrast with the E-flat major sections. I bought Katsaris' recording of all three sonatas in 1994 and it's served me well over the years my only quibble is that he omits the repeat in the first movement of the C minor sonata (he takes the repeats in the first movements of the B-flat minor and B minor sonatas).
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