Do Women Like Hooked Noses

It starts from Parma

Yesterday, the first test of the new season. In Parma, with the Orchestra Toscanini: composite program, Mozart: Symphony No. 39 , Shostakovich: Second Piano Concerto , Castiglioni: Intermezzo, Schumann: Overture from 'Genoveva' . I did not choose me but I like it and, I think, works for a balance between the pieces. Castiglioni, to my knowledge, there are no records: I studied piano and showed me the impression of a Klavierstueck the first Schoenberg. With the orchestra is different: the writing becomes more fragmented hard, paradoxically, it is easier to tie the elements the piano, which also does not support sound. Some, in the orchestra, I say it's an interesting piece, by the majority does not like. Too many gaps, too many areas of air. Just sound. Yet should this be the reason for his poetry (the time signature is "So zart wie moeglich). I hope to get more color to the second round, but it's a difficult piece, where should the silences speak as sounds.

With all the other pieces are more involved. In Schumann keep a time faster than some recordings I've heard (Kubelik, Masur) should emerge a certain size neurotic, with sudden bursts, lighting, glare of sound. Yet, with all the neuroses of Schumann, the thing best part is the construction of the entire track on two cells (the first is the introduction in C minor and C major blazes in the lock), with a consistency, solidity, continuity formidable. Do not know if it's ever been commented on the orchestration of this song, but the first reading with the orchestra seems to me sounds very well, without tricks and adjustments: a perfect balance, dynamics and weighed "written" in an effective manner. Two difficult steps to the arches.

What amuses me most is the Concerto of Shostakovich, because in the second movement (which is easy for the orchestra and the pianist who question the emphasis on beauty of sound) I play the orchestra alone and I play the piano (studied at the moment, more or less, but not dangerous). This refers to Rachmaninov Shostakovich or sdilinquimenti of the film is very curious. It 's all "as if" (what Adorno says about the Fourth of Mahler), all un'antifrasi, or maybe not, you are relaxed for a moment and went out melodic gift that was formidable in the young Shostakovich (the First Symphony, movement slow). Of all the pieces of the program can be said to represent the part most elusive style of each author (of course it can be said of No. 39 by Mozart, terribly difficult).
(At night, aching right shoulder, as always when I resume work after a few week. It 's a pain I know, and I smile at bedtime).