The immediate answer to this was Rubinstein: his play was male-powerful, emphasizing the classicistic note and thus sternness of Chopin (Beethoven he saw as a romanticist), he was the opposite pole to Cortot. Even though I admire him incredibly, precisely because of his intuitive-inspired and improvisational play, his game at the end, determined also because of his illness and the associated Morphinismus, was extraordinarily mannered and dematerialized. In fact, in former times one used to speak of a typical "Chopin player". This may make Frédéric Chopin, who always led a secluded life and gave very few insights into his artistic and private life, seem a pallid character by comparison.Ī: Hardly any pianistic style has changed over the years as much as that of the Chopin game. As the accord mystique created by him on the basis of the tritone, serving as an electrifying centre and thus as the breeding-ground for his compositional subtleties, drew the energy fields of his major symphonic works and his late sonatas into the centre of his own dodecaphonic thinking, so this very chord acted as the focus of the serial idea itself and reverberated throughout the entire compositional world. Starting as an inheritor of the Chopin tradition and concluding as a forerunner of early atonality and serial music, with his last sonatas and preludes powerfully shaping and influencing the landscape of this creative sphere. A variety of creative and maturative processes shaped his artistic activities as composer, pianist and philosopher. Alexander Scriabin’s inner and outer creative path was that of a confirmed cosmopolitan.
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