From a YouTube video, concerto attention by Classic fm.
This is how a Ludi (Beethoven) concerto should be played. Quite impressive. As an aside, but related: my take on her thin is that of course she is built that way—we have to know she doesn’t eat. There is no time left after all of the practicing. The pianist is Alice Sara Ott.
To check out the pièce de résistance, tune in to the time mark of 9″30. Enjoy!
We die containing a richness of lovers and tribes, tastes we have swallowed, bodies we have plunged into and swum up as if rivers of wisdom, characters we have climbed into as if trees, fears we have hidden in as if caves.
Posted by Lit Hub
The English Patient at 25
ON THE 25TH ANNIVERSARY OF ITS PUBLICATION, WE LOOK BACK ON SOME OF THE FIRST REVIEWS OF
MICHAEL ONDAATJE’S BOOK PRIZE-WINNING WWII EPIC
The LitHub has a lovely article about the book. It’s direct quotes from the original reviews and worth a look. It has made me want to read it, and I missed it the first time around. Actually that happens with me a lot. Somewhere inside of me lies hidden the critic who says, “Let’s just wait a while and see how this holds up.” Especially if there’s a movie associated with it. Never trust the movie, I say!
Consider those most difficult: piano pieces, orchestra pieces, double bass, all of them, yes? I wonder if it was intentional by the composer—to make something so difficult that very few musicians even attempt the piece, score, or presentation. I don’t know how some composers had the required stamina to actually write the piece. Take for example, The Mysterium, scheduled for the end of the world. Seriously. That is when it is to be played. And everyone who attends will have a part to play—there will be no observers. I don’t know when the rehearsals are to be held. Obviously I will not be there. I cannot get through the entirety of the piece as a listen. I get it, I really do, it’s just not for me.
La Campanella is at least welcomed by most everyone. And it is as equally enjoyed and played. Playing it however, is indeed a bit of a challenge.
There was a reason Bottesini was known as the Paganini of the double bass. For extra difficulty points, be true to the period and play it on three strings. Personally I’m delighted that I don’t play the bass and have nothing to be challenged by. And it is lovely. Enjoy.
Last for this go ’round, we simply must play some Bach—J.S. Bach – Chaconne in D—The absolute daddy of violin showpieces. SO exposed.
This entire set, plus a few more (later), was presented by Classic FM.