Hahah da criticizm ov zpeed a clazzic age old sheeyat
Zinz muzik iz zubjective - u eitha lyk o dizlyk an interp
BUT if u dizlyk it n itz fazt den u queztion motivez n zay tiz virt fo da zake ov virt
Diz why da ANTZNEZT playin it zafe - he play zlow tempoz n even when mofoz zubjectively dun lyk it…at leazdey can’t zay tiz empty virtuozity 
Have you heard his Dante? That’s not slow.
Hahah he iz actually 1 ov ma fav livin peniztz
N alzo actually haf 1 ov da bez alround techz, but play it zafe tempo wize
N hiz moz legendary rec pozzibly da CHOPZON 1 which iz da definitiv interp
ay ay ay comme, first Katsaris and now this? 
Hehe, the last line there is actually a fair point. There are many ways to mess up a piece of music, and some are more accepted than others.
I’d also like to know, if a program entirely with opera paraphrases is considered poor taste, why a program with only Bach P&Fs isn’t also?
Good question, though I know which one I’d rather attend!
Diz iz da faux-profundiz approach
When u play ultra ‘rezpected’ sheeyatz in ultra ‘rezpected’ wayz
In my view - my rezpec cummah when u rezpec da piece enough to realize it haf a gensui dat can be heard in a prizm ov different wayz.
Tiz a beautiful kaleidozkopic prizm, not a funhouze mirror
Which?
I think it also depends on what the specific rep is in each programme and who the pianists are. I don’t need to heard Katsaris play the WTC anymore than I need to hear Brendel play the Norma fantasy. Having said that, there are probably more pianists who would do the Bach recital well than an all opera tranny rectal.
Yes exactly, and also when you realize that abandon, virtuosity, exaggeration - even vulgarness and brutality - have a place in music. I hate it when people introduce all kinds of ritardandos and softening ups of the dynamics in Liszt’s Wilde Jagd to show how “intellectual” they are. If you’re truly an intellectual, you would have worked out that such things have no place there!
This is not a call for dumbing things down or similar, it’s a call for realizing that dry intellectualization is in every bit as poor taste as mindless note spinning.
Totally agree. Faux profundity is honestly more annoying to me than 
Bolet’s Grand Galop is better than brendull pimp trannies though 
Very true, I was about to edit it to Liszt paraphrases to compare top notch opera fantasies to top notch P&Fs.
My point is that, while current dogma would consider the Bach program in unusually good taste and the Liszt program in unusually poor taste, I really don’t think one is any worse programming than the other. One is way too academic, the other way too extravagant. Both are too “samey”. And yet all these all-Mozart, all-Bach etc programs go by uncriticized. Aargh!
Will be intereztin do c how diz legend alzo mature
Diz rec fuckin legendary along wiz hiz feuz follzz
Yes, I think some of them are just intellectually embarassing themselves. Brendel HR2 he can’t even play the rh scales a tempo and has to “compromise”. Great respect for the composer’s intention there and the less said about his hilarious simplifications at the end the better.
I criticise them. Also playing a whole set of Chopin etudes or Rachmaninoff preludes (or worst, both cough Kultyshev). I’m not sure the last time I heard a really well put together programme. I might have a look through and see if anything stands out.
Diz hint ov KAZTLE
I think my idea of hell on earth (in a classical music context with music I’m otherwise ok with) is an all Chopin Nocturnes concert.
A prime ZIFF complete chopetz rectal wud haf been juz inzane 
Hahaha but hilariously da kaztle actually had a point with brendull.
Although with him I give him credit for being on Liszt’s side. And randomly, one of my favourite Liszt sonatas is the one he did on Vox. However, all copies of that Norma fantasy need to be destroyed. It’s possibly the most unforgiveable cut I’ve ever heard. Second would be Bolet’s in the Prok 2 cadenza.