![]() The best parts of both perahia and leonskaja’s recordings are combined in the eric lu recital in the video above. instead it’s perahia’s version that i feel lacks the horsepower and alacrity necessary for the breathless drive of the Impromptu No.4, my favourite of the four. had i heard his interpretation first, i’d think elisabeth leonskaja’s recording-my gold standard interpretation of these piano works-took the Impromptu No.4 a little too fast. ![]() he handles the similarly paced Impromptu No.3 in the same way. the first perahia recording i ever heard was that of mozart’s complete piano concertos, his handling of the slow movement of the Piano Concerto No.11 revealed the charms of that concerto (which i will be listening to in Week42 of this journal). they are free-flowing locomotives beholden more to the spirit of an idea than the stringencies of technical organization.Ī tale of three performers - first, the murray perahia vinyl recording featured here. they have the same studious and stuffy atmosphere of an etude, but with all the windows open. The Impromptus (long songs for piano) that comprise schubert’s Op.90 provided much needed bliss this week. “” robert philip, The Classical Music Lover’s Guide ![]() His ability to switch in an instant between one mood and another, and to create ambiguity so that the listener does not know quite what the mood is, is essential to his command of long structures, in which our intense involvement is kept engaged by this precisely calibrated command of mood and tension. ![]() Song is at the heart of his music, sometimes in the form of seemingly endless melody, sometimes giving the impression that a song is struggling to surface from a tangle of conflicting ideas. ![]()
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