Babayan is quite a unique artist, if I’ve ever heard one. Always fresh and communicative, with plenty of astounding interpretations and a very flexible technique. He is also one of the warmest and most generous human beings I’ve ever met. His greatest studio recording yet-- Bach and Rachmaninov, produced by Michelangeli’s producer for DG-- has yet to be released. He also has a totally unique sound, sometimes completely removed from anything else I’ve ever heard.
I heard pletnev conducting rach 3 with volodos and the royal philharmonic orch. It was brilliant! After the concert i spoke to mister plenev and he’s quit a strange person. I’ve been told, pletnev likes to hang around with young boys.
Yes, very young Thai boys in fact. Russian newspapers reported on this story around the time that he had to leave the Russian National Orchestra as director, for related reasons. It’s a sad story. Pletnev is by some accounts very troubled, very unhappy, and bitter. On the other hand, most musicians had very difficult personal lives. Remember Saint-Saëns interview, where the interviewer asked if he was homosexual. SS’ reply: “Quoi?? Je ne suis pas homosexuel, je suis PÉDÉRASTE!!”
Amen to all three. I always thought Pletnev was a typical pianist-turned-conductor (though not quite as bad as you write) that really didn’t have all that much to offer. As a pianist, however, he is obviously scary good. But come to think of it, every video I’ve seen of him doesn’t ever have him really smiling or positively into the music. A few smiling glimpses are all that I’ve ever seen in the Verbier concerts (after the shite 8-piano pieces, so he’s probably laughing at the ridiculousness of it)
And Lang Lang, he needs to be rigged with a device where that shocks his balls while he’s playing if 1) he turns his head >45 degrees, 2) opens his mouth more than that needed to breathe, 3) smiles in any way that bares teeth, 4) makes any jerky moves, and 5) every 5 minutes otherwise just for good measure. Then, maybe then, he’ll have some time to think about musicianship instead of showmanship.
Since others are giving their shout-outs, I’m a student of Morley Grossman (who just had a book published on Rachmaninov forwarded by Ashkenazy, btw) who was a student of Jorge Bolet @IU. I don’t say that to many people, because then they think I can play some sheeyat. Truth is I got some chops to be sure, but I chose medicine over music and just play for fun when I can.
(and I certainly don’t lie, and I hope there aren’t any pozers on here who do.)
Oh yeah, someone here mentioned Nina Svetlanova…I had a master class w/her years back playing Mozart K330…interesting lady…lots of talking, lots of putting her hands on my hands, trying to get me to move my hands differently but she played rarely on the 2nd piano to demonstrate. She also was wearing knit gloves with the fingertips cut off, which when I see that always makes me think of a homeless person, LOL! (obviously, she was a classy lady, it’s just the way the hands look…)
I mentioned Svetlanova, my teacher in NYC. She is an incomparable teacher, though I don’t know what she’s like in giving masterclasses. She does indeed try to show students what the correct hand movements feel like, and while this may be unfamiliar at first, I say absolutely without reserve that once the student understands the motions she shows them, it is a wonderful way to teach. She always wears those gloves, too! And yes, she rarely demonstrates, but when she does, her playing is beyond words. The (very) scattered fragments of her playing that I have been privileged to hear over the years are some of my most treasured musical memories.
This is in fact the best plan I’ve seen in years! Let’s invent it. It’s amazing to see what is fed to the public these days, by way of a commercially-driven marketing engine, and pushy managers, and image-builders, what is considered to be “great.” As for Lang, it’s hard to know where he will go, and time will be the best judge. However, I have my doubts that Lang will ever record something, say the Beethoven 32, in such a way as to hold up to posterity, beyond the marketing gimmicks we see today.