(04-28-2013, 07:24 PM)midnightblues Wrote: Where is( LTH)? Is she runnin from, or runnin with the pack?

(03-22-2014, 12:45 PM)My Alter Ego Wrote: ... (snip) ....

.....In regards to your ideas of how the orchestral sections/soloists seemed to "respond to her interpretations," I'd say maybe. Members of an orchestra respond to their director/conductor. The conductor and soloist need to communicate with each other to be "on the same page" in terms of interpretation. For all we know, this conductor chose Khatia because she could embody "his" interpretation of this piece.

Unlike popular music where it's considered a cool, fun, and, maybe, genius thing to take a familiar tune and place it in a new/different context, for the last 50 years (at the very least) new "interpretations" of classical music usually stem from recently discovered, (previously) unknown research about the composer, about the piece itself, and/or about directions the composer might have been pursuing. In other words (and I'm no Schumann scholar), I could surmise that, perhaps, the conductor/musical director/whoever makes the choices for the program has been delving into Schumann's life, psyche, etc, and, thus came up with a different perspective and found that Khatia's resume worked with what had been decided on for this program.

Thank you for bringing her to my attention, Tom. She's now within my circle of "listen to" folks.

And, finally, if you find other classical pieces you wish to share, the thread to go to is "Fine Music -Orchestra, Big Band, Classical & Such" which can be found under the broader classification of "Other Musical Subjects".

Thanks, again, Tom.

Quote:n 1839 Robert had written to Clara: "Concerning concertos, I've already said to you they are hybrids of symphony, concerto, and big sonata. I see that I can't write a concerto for virtuosi and have to think of something else." He did. Now, in June 1845, while the metamorphosis of the Concert Fantasy was in progress, Clara Schumann noted in her diary how delighted she was at last to be getting "a big bravura piece" out of Robert (she meant one with orchestra).

Schumann's "something else" was noticed—first of all, of course, by Clara, who wrote in her and Robert's marriage diary that in the Fantasy "the piano is interwoven with the orchestra in the most delicate way—one can't imagine the one without the other." Most chroniclers of the first public performances, along with noticing how effective an advocate Clara was for the concerto, were also attuned to the idea that something new—and very pleasing—was happening in this work.