Joseph Horovitz: Sonatina for Clarinet and Piano
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- Опубликовано: 21 июл 2024
- Anastasia Schmidlin, clarinet
Denis Zhdanov, piano
00:00 Allegro calmato
05:07 Lento, quasi andante
09:40 Con brio
www.anastasia-schmidlin.com/
www.deniszhdanov.com/
© 2023 
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A beautiful tuneful modern work I never heard before. Both the clarinetist and pianist are excellent accomplished musicians. I especially like the jazzy last movement. If I could play like that I would be in heaven.
Thank you.
Incredible sound❤
Lovely interpretation of the 3rd!
Beautifful!
Bravo!!!
Superb !!!
Der 3. Satz ist sehr ansprechend 🔥
Bravo!!
Que pasada bravoooo
Bravo 🎉
🍀🎶🍀
Thank you. You seem to like English music Have you tried playing on an instrument by Peter Eaton or Boosey and Hawkes. Bill. UK
If Horovitz had wanted glissandos (caricatured no less), he would have written them. Despite (not because of) the histrionic tempo changes and pelvic thrusts, this performance of the third movement was still mostly very engaging. Please remember that just because one can doesn't always mean one should! Too many gifted young players today make the performance about themselves rather than about the music. I hope this trend subsides. The level of accomplishment is technically higher than ever, but the level of music making - not always where it could and should be.
When a person performs, the person playing is always portrayed in the performance, and there is no way to avoid that.
@@medusa210562 Of course. Not my point, but thanks.
As a musician who has collabed with composers on multiple occasions, I learned that life is too short to be so rigid. Many composers respond to stylistic choices with “yeah! That would work too!” Or “oh yeah, I like that! Maybe for some settings you could even try messing with the tempo” etc. At the end of the day, being a classical musician doesn’t have to mean being a slave to the paper. We do allow ourselves the SLIGHTEST bits of creative control as we do also call ourselves artists… There are plenty of recordings of strict performances in existence already
@@OnceUponLater Collaborating with a composer is entirely different from the situation here. Composers also have the option in that case to say 'no, I don't think that's a good idea'. I acknowlege your viewpoint, but where is the limit? Respect, historical context, and good taste should dictate some boundaries. Yes, we want individualism in performance, but not at the expense of the composer's intentions as indicated in the score and other historical information. One should write their own music or get permission from the estate (in this case) to make a derivitive work if wanting to go so far outside of what the composer left us.
L take
Great control in the 2nd movement!
Yes very fine indeed! I now fully believe the statement that "Classical music is the most beautiful music which almost breaks out into a melody" Why all this work for just a jumble of notes????? I guess it must feel like climbing Mt. Everest. One does it just because it is there!