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Sort of a NY/Hamburg direct comparison:



Greg=Hamburg, Liz=NY

But, in this case, I can't really tell a difference.

Carroccia's second nocturne is so languid I'm completely losing the line.

Languid is a good way to describe it. Almost put me to sleep.

You know what, I actually like Carroccia. Wouldn't expect him to be a competition winner, but I really enjoy him. He's certainly operates on his own wavelength. Seems to have no real care for showing large structure. One almost gets the sense that he's making all the details up as he goes.

How did they do all those special effects, including the one where Anderson dreamily looks at Roe as if he wants to make love to her?

It actually did put me to sleep :P Woke up at the tail end of the Czerny.

I gave it an effort but I have to confess that after Favorin I kind of tuned out. Don't have any impression of Sun or Carroccia, good or bad.

I can't complain about him programming Czerny or Kabalevsky because I really enjoy the weird programming, but: the program never really woke up until the Kabalevsky and that's too risky. I dozed throughout most of it.

So he put at least two of us to sleep. I wonder, does that speak well or ill of his rendition of the Nocturnes?

I agree - the overall programming choices were unusual (particularly the Czerny coming after the three Chopin works) - and things didn't really pick up until the Kabalevsky. Certainly a talented, highly skilled, sensitive musician - but I doubt he'll make it to the finals.

Very debatable. Perhaps, as with reading Hegel, the whole point of nocturnes is to bring on sleep.

Okay, I can buy Sun and Carroccia as the thesis and antithesis. But then who's the synthesis?

It's got to be Greg Anderson.

Good morning! Who are we looking forward to hearing today? I'm nervous for Rachel Cheung and Tony Yike Yang.

Listened to Carriccia last night and agree with what was posted here - it never really took off. On top of that, I felt that he spent too much time on lesser music. The Barcarolle is a masterpiece, those two nocturnes are serviceable, the Czerny has its merits, and the Kabalevsky simply isn't a good or effective piece. He plays beautifully, but wasn't represented well by this program (not to mention having to go after Favorin).

I must be the only person who's not crazy about Favorin. I don't dislike him but there are others I'd rather hear.

Has anyone noticed how the comments on the live feed are always positive? I know they're carefully moderated, but still. I haven't been able to get anything approved except unreserved praise for the performer, composer, or work.

Yes. In some cases, even given the unbelievably high level of playing, they are still just maybe a bit too positive. The only slightly negative one I saw was a tweet last night "I'm not wowed by Luigi." I was shocked they let that get through.

I thought the people there were all very nice, not knowing you need approval for a message to show.

What happened to Orange Soda King? I remember him from 2013. He was such a Hamelin groupie, this competition is right in his wheelhouse.

Excellent recital from Tchaidze. Hopefully enough to get him to the semifinals.

Kudos to Tchaidze for keeping the staccato octaves immediately before the shock ending at piano. Too many play that forte out of uncontrollable excitement!