I recently attended an Abduraimov recital in the QEH which had all the hallmarks of a great pianist in the making - flawless technique, subtle tone production (especially in the Schubert sonata), imagination, drive, communication; the list goes on. And I don't agree with your lukewarm assessment of his performance in this video, which for me is is way above the merely 'professional'!
Brilliantly played. But I was getting seasickness from the damned camera which refused to keep still. wandering here there and everywhere except on the pianist's hands.
Are you kidding? This is fine playing that is about as good as the moden "competition" style gets. However, when it comes to projecting a melody with depth and emotional intensity, there's not a single moment that goes beyond solid professionalism. There's some great rhythmic drive but not a single thing that suggests he could create interest in the way Gilels and Horowitz do in even the simplet meodic miniature.
I hope he'l develop, but I don't hear a pianist who has the desire to stretch the limits of what a piano can do, when it comes to voicing chords and projecting melodies. He seem to find it all very easy to do what he does, yet doesn't seem to have an inbuilt urge to transcend a mere "professional" sound and push for that of a truly great artist. It's like it's easy, because he hasn't thought about how much more character the greatest pianists ever extracted from simple chords or melodic lines.
true, I have simular feelings, however I finally also feel that a young pianist wants to express something through playing, not just being someone who has quite a good hit rate on the keyboard. But I totally agree with you. not an 'early Pogorelich' type of perfectionist.
Most enjoyable, dramatic enough yet with lots of flexibility & color. Very fine pianism. The only irritating aspect, for me, is the habit of making huge agogic pauses between certain phrases, thereby interrupting the flow. But overall, a pianist to note! The excellent piano sound is, amusingly provided by a Fazioli with its side name blanked out! That wouldn't be to avoid upsetting Scheinway and Stuns by any chance?
I usually avoid bad comments on RU-vid, but I'm sorry I don't like this interpretation. There are people here who say he has an impressive sense of drama: I'd say the opposite. He's technically a master, but this hasn't anything to do with the "soul", with the drama behind the Danse Macabre. It's just a correctly-executed piece and nothing more.
Above all, he needs to listen to the musical techniques used by great pianists to shape and voice. He's clearly a good musician, but he just doesn't have the musical vocabulary of an all-time geat pianist.Benjamin Grosvenor had the old style of sound from when he was a kid. This guy is very good, but he's reached the limits of the modern style an not pushed himself any further, when it comes to tone-production. It's very good, but it's like he got to a certain point and said "right, that'll do".
Abstruse, nur auf Effekt zielende Bearbeitung ("Improvisation ..." oder "Phantasie über ..." trifft es wohl eher) - mit der Originalkomposition hat diese egomanische Selbstdarstellung kaum noch was zu tun.
Transkription heisst genau was Sie beschrieben haben. Das Original ist ja für Orchester. Entweder komponieren Sie eine andere, oder hören Sie sich nur Schubert Liedern an. Aber dann wundern Sie sich nicht warum nur Sie und vielleicht Ihr Hund sich es anhören wird.
