![]() ![]() ![]() The second movement opened with apt buoyancy, and the reflective episode interrupting the finale’s exuberance was breathtaking.Īizawa was occasionally a bit too loud in the balance, but overall her playing was a marvel of nuance, notably her way of tapering off phrases and motifs. The Mimir musicians gave it an impassioned account, replete with rhythmic subtleties introspections were lovingly caressed. The Brahms was long a staple of the chamber music round sadly dropped last year from the Van Cliburn International Piano Competition. ![]() Again, the playing was thoroughly authoritative, Jessica Thompson’s viola lending tones of particularly silken finesse. Unusually, none of the four movements is actually slow, although the finale pauses for a more reflective passage before contrapuntal activity drives toward a rousing coda. The Saint-Saëns validates the French composer’s reputation for craft and charm, if not the last word in originality. ![]()
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