В свое время выходила пластинка с записью Фантазии. Здесь неважное качество записи. "Фантазия" у Башкирова - особая страница его творчества, она раскрывает романтическую сущность его творчества.
Dimitri Bashkirov Mendelssohn piano concerto no 1 with The Finnish Radio Symphony Orchestra video RUclips! Bashkirov a class of his own Mendelssohn piano concerto no 1! Bashkirov The Best piano sound! The melodies Are rolling! The Best tempos! We must forgot The cold RAW rough piano sound Mendelssohn players like Yuja Wang Rudolf Serkin Pletnev!!
I'd go further than others here and say Bashkirov's first two movements equal the very best performances on RUclips. He has such a deep understanding of the music, not just the detail but the architectural structure. He has clearly troubled to find all the strands of melodic line that are sometimes half-hidden in texture, and bring them out. There are one or two rhythmic and dynamic details in the first movement that I don't agree with, and he struggles slightly with the massive chords at the start of the second movement, but so many good points far outweigh the tiny blemishes. The notoriously fiendish Coda isn't quite scintillating, but what is remarkable is that he uses no pedal, exposing every note to the listener's scrutiny - I was only aware of one early wrong note right up to the climax of the crescendo in bar 252. The final movement started where the other two left off, with impeccable musical judgment regarding tempo, dynamic, shaping of phrase and so on. But, unfortunately, just about every performer has to tinker with the written music somewhere, and Bashkirov chose the two-bar phrases that precede the pianissimo held RH chord with LH arpeggio patterns - he's determined not to let the obvious waltz rhythm establish itself, and constantly checks it with molto rubato. I can see musical and programmatic justification for it - i.e. the lovers (Schumann and Clara) tentatively exploring at the start of love-making - and fittingly, those passages are more flowing when they repeat at bar 91, but I would find it extremely irritating on repeated hearings. Also, the great climax in the final Coda never materialises - Bashkirov doesn't seem to realise this is one of the most intense depictions of sexual passion in the whole of music. I think he takes Schumann at his word that this is star-gazing, and plays it as if he's in awe of the beauty of the night sky. But Schumann later removed the title 'Constellation', presumably because this music concerns a more earthy heaven ! Thanks for uploading.
R.I.P Maestro
Absolutely incredible- this Schumann is so full of life and story.
Великий пианист моей юности. Образец высокой культуры. Хотелось бы чаще слышать Дмитрия Башкирова
Beautiful! Thank you for posting!
В свое время выходила пластинка с записью Фантазии. Здесь неважное качество записи. "Фантазия" у Башкирова - особая страница его творчества, она раскрывает романтическую сущность его творчества.
one of the best ever!
Best!!!
The best.
Dimitri Bashkirov Mendelssohn piano concerto no 1 with The Finnish Radio Symphony Orchestra video RUclips! Bashkirov a class of his own Mendelssohn piano concerto no 1! Bashkirov The Best piano sound! The melodies Are rolling! The Best tempos! We must forgot The cold RAW rough piano sound Mendelssohn players like Yuja Wang Rudolf Serkin Pletnev!!
Consiglio di ascoltare la versione del Maestro Sergio Fiorentino
I'd go further than others here and say Bashkirov's first two movements equal the very best performances on RUclips. He has such a deep understanding of the music, not just the detail but the architectural structure. He has clearly troubled to find all the strands of melodic line that are sometimes half-hidden in texture, and bring them out. There are one or two rhythmic and dynamic details in the first movement that I don't agree with, and he struggles slightly with the massive chords at the start of the second movement, but so many good points far outweigh the tiny blemishes. The notoriously fiendish Coda isn't quite scintillating, but what is remarkable is that he uses no pedal, exposing every note to the listener's scrutiny - I was only aware of one early wrong note right up to the climax of the crescendo in bar 252. The final movement started where the other two left off, with impeccable musical judgment regarding tempo, dynamic, shaping of phrase and so on. But, unfortunately, just about every performer has to tinker with the written music somewhere, and Bashkirov chose the two-bar phrases that precede the pianissimo held RH chord with LH arpeggio patterns - he's determined not to let the obvious waltz rhythm establish itself, and constantly checks it with molto rubato. I can see musical and programmatic justification for it - i.e. the lovers (Schumann and Clara) tentatively exploring at the start of love-making - and fittingly, those passages are more flowing when they repeat at bar 91, but I would find it extremely irritating on repeated hearings. Also, the great climax in the final Coda never materialises - Bashkirov doesn't seem to realise this is one of the most intense depictions of sexual passion in the whole of music. I think he takes Schumann at his word that this is star-gazing, and plays it as if he's in awe of the beauty of the night sky. But Schumann later removed the title 'Constellation', presumably because this music concerns a more earthy heaven ! Thanks for uploading.
Thank you!
I reccomend you the Sergio Fiorentino’s version