Oh man didn’t see the tie! Good catch before it gets too worked in.
Richter in any 50s recording can’t be beat but I’ve actually been listening crticially to Arthur friedheim in my headphone rig lately.
The recording is a bit shit even on a good rig but things that didn’t make sense in the score sort of come together in his verison. He holds over certain harmonic elements in LH and chords that are usually clipped to add a foundation for the sort of wayward noodles.
more specifically he holds the lower F in start of bar 12 all the way until the double notes measure starts. (not marked in score) These several transitional measures sound pretty wikid doing this instead of sparse scraggles.
Highly controversially Arrau is superb from a narrative point of view. Kissin from a WTF factor.
diz chick plays it well, I remember her when she was taking lessons wiz da Jerome Rose before da 2011 pimp comp.
randomly she played really exquisite at dat comp, I heard diz chick from da hall, n she did not pazz
Ashkenazy highly legendary… stays sort of light and feathery during the muscle memory rape parts even but somehow doesn’t get me going like the others I’ve been listening who have a clear dramatic arc happening. Richter is best at transitioning between rape and smooth shimmer demands
ahahahah fuckkkkkkkkkkk da KAT UNLEAZH from da 1970z tchaik comp
if u check da rezultz, da KAT not among da prize winnahz, n pozz not even a finalizt dat yr
mannnnn da audience reaction at da end iz lyk
‘ahahah who da fuck iz diz mofo? obviouzly NOT da rigged winnah… zheeeeyat ok be careful dat our applauze zhud nevah exceed da mildly-imprezzed decible level’
He even uzez a muzicological quote (of Göllerich) to show the common people he’s right about the tempo!
If you like pedestrian, plodding, handicapped feux follets, this is the perfect rec.
schoolgirls :
