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I thought Anderson and Roe were married, until yesterday I found out he's gay.
Does she know her top is transparent? She must know. At any rate she's extremely pretty but he's driving me nuts. Wish he would learn how to pronounce "L'homme arme"!
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Beethoven and awkward go hand in hand.  I thought Anderson and Roe were married, until yesterday I found out he's gay.
Does she know her top is transparent? She must know. At any rate she's extremely pretty but he's driving me nuts. Wish he would learn how to pronounce "L'homme arme"! Hey, be kind to us young people...especially those of us who commonly mispronounce words in foreign languages and our own. (GUILTY!) Seems like your Gaydar is out of wack. Might want to get that checked.  Hmm, Hamelin says he was trying to give enough directions to avoid eccentricity. 
Last edited by MikeN; 05/28/17 05:22 PM.
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Not to mention that th figuatioms are extremely awkward in every movement. Late Beethoven and awkward go hand in hand. Overall a very tough sonata. No thoughts about Andres Schiff and programming Bach? Anyone....Bueller......Bueller....? Schiff isn't on this jury - are you thinking of someone else?
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Time for me to go to church. Won't hear Jurinic. Post your thoughts. I need to know.
Do or do not. There is no try.
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Not to mention that th figuatioms are extremely awkward in every movement. Late Beethoven and awkward go hand in hand. Overall a very tough sonata. No thoughts about Andres Schiff and programming Bach? Anyone....Bueller......Bueller....? Schiff isn't on this jury - are you thinking of someone else? Really? I would have sworn he was on the jury. Where did I get that from? I've been having too many scary moments like this. Time to up the ginkgo. 
Do or do not. There is no try.
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Hmm, Hamelin says he was trying to give enough directions to avoid eccentricity. Yes, that was very interesting. There are not a thousand valid interpretations of his piece. Thank goodness Hamelin's piece is so much more listenable than "Birichino," written by Theofanidis for the 2013 competition. Wow was that piece awful.
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It's got to be almost as hard going last in the competition as going first.
I'm always eager to hear a Widmung.
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I'd be fine listening to the Hamelin again in the next round...kind of want to learn it, actually.
Jurinic just started. He could use a little more energy, and the arpeggios that tripped up Kociuban also got him. Moral: play Haydn!
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Hmm, seems Op.27 No.1 is smirking at another pianist as it attempts to swallow them in it's tricky passage work and illusions of simplicity.  I really do wonder if programing an early Beethoven Sonata isn't slightly synonymous with having a death wish. I feel like your asked all the virtuosity required in Mozart, Haydn, Clementi and the like with the added awkwardness and demands of bringing across a large scale structure that we find almost exclusively in Beethoven.
Last edited by MikeN; 05/28/17 05:46 PM.
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But then again someone was posting pretending to be one of the competitors' mothers, and I don't think it was his real mother. She kept telling him to go get some Texas brisket and bring it home with him.
I saw that, haha. The same thing happened on the first day with Shmukler - someone was posting as "Ilya's Dad" asking if he could bring steaks back to Russia. On the other hand, it seems that the comments section of the webcast is whitewashed with only praise, so I find it kind of funny when these sort of things sneak in.
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Hmm, I find the Liszt transcription of Widmung to be a rather interesting notion. One can play it more or less as an expansion of Schumann's original or take a far more pianistic approach. I prefer the former, but I feel both are equally valid.
Last edited by MikeN; 05/28/17 05:58 PM.
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Nice Widmung. He didn't want any applause afterwards....right into the next Liszt on the list.
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What was up with that gesture from Jurinic at the end of the Schumann?!?!?? He totally shushed the audience. Maybe he's frustrated with how it's going?
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What was up with that gesture from Jurinic at the end of the Schumann?!?!?? He totally shushed the audience. Maybe he's frustrated with how it's going? I don't think that's the case. I think he really sees the Liszt pieces as a set, so he declined the applause. I've done this myself, and I have a lot of respect for it. I was actually quite disturbed when Bartlett didn't decline the applause after the 3rd movement of the Barber. Jurinic's programming in general seems very well considered. One may see it as a mishmash, but I think real consideration probably went into trying to make a satisfying whole.
Last edited by MikeN; 05/28/17 06:07 PM.
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I was actually quite disturbed when Bartlett didn't decline the applause after the 3rd movement of the Barber. That doesn't bother me....it's a personal preference on the part of the performer and I think many performers just see it as a gracious acknowledgment of the audience's enthusiasm. I've seen quite a few performers acknowledge applause between concerto movements with a smile and head nod, including Stephen Hough in the Dvorak concerto. No one is more gracious onstage than Hough.
Last edited by Eduard Hanslick; 05/28/17 06:13 PM. Reason: Peloponnesian War
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Can there be a Stage Dad or is the job only open to Moms?
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With 20 advancing, it's not so much who's in as who took themselves out. But, speculating on that is rather negative. I was actually thinking the same thing! With such a relatively small cut, it is indeed easier to speculate on who might not advance. Of the ones I've heard, I might guess Kociuban, Fukami, Bercu, Grewe, Bartlett, Park, Lee, and Yang so far. To this, I'll add Kudo and Jurinic. Kudo had a beautiful recital that seemed very relaxed and controlled, but perhaps a little too relaxed for the Barber and Hamelin. Jurinic's performance honestly surprised me - I thought that he would be a shoe-in all the way through the semis given his success elsewhere, but it seemed that he had an off-day (and the rep choices maybe didn't hold up against what some of the other competitors were offering). In any case, we'll find out soon.
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I was actually quite disturbed when Bartlett didn't decline the applause after the 3rd movement of the Barber. That's doesn't bother me....it's a personal preference on the part of the performer and I think many performers just see it as a gracious acknowledgment of the audience's enthusiasm. I've seen quite a few performers acknowledge applause between concerto movements with a smile and head nod, including Stephen Hough in the Dvorak concerto. No one is more gracious onstage than Hough. I definitely agree that it's a matter of taste. I liken it though to cooking a meal and someone trying to eat one of the components when you really wanted them to enjoy them together...like a cake without icing or Barbecued meat without the sauce. I guess some may see this as a little selfish, but I really do believe it's done with the best intentions.
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With 20 advancing, it's not so much who's in as who took themselves out. But, speculating on that is rather negative. I was actually thinking the same thing! With such a relatively small cut, it is indeed easier to speculate on who might not advance. Of the ones I've heard, I might guess Kociuban, Fukami, Bercu, Grewe, Bartlett, Park, Lee, and Yang so far. To this, I'll add Kudo and Jurinic. Kudo had a beautiful recital that seemed very relaxed and controlled, but perhaps a little too relaxed for the Barber and Hamelin. Jurinic's performance honestly surprised me - I thought that he would be a shoe-in all the way through the semis given his success elsewhere, but it seemed that he had an off-day (and the rep choices maybe didn't hold up against what some of the other competitors were offering). In any case, we'll find out soon. Yea, I agree. Kudo's Barber Fugue never quite reached a cumulative point for me, and Jurinic's rep though thoughtfully chosen might very well be his undoing. I actually find this rather depressing though. He we really have two good pianist who might get the ax because of things that are, for me, rather minute. 
Last edited by MikeN; 05/28/17 06:21 PM.
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They're going to run it like the last couple seasons of American Idol:
20 "potential quarterfinalists" are named, all of whom must sit in the front row of the concert hall for each set of performances. Three times during each session they announce one of the actual quarterfinalists, at which point they must immediately go on stage and perform their recital program cold. At the end of the sixth session, two people are left in the audience, at which point they get to know they're not actually quarterfinalists after all.
The stress did about what you would expect it to do to the performance quality on Idol. Are you kidding me?
Regards,
Polyphonist
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