The comic moment only added to the showmanship. And did he ever deliver.Īs an encore, Bavouzet honored his mentor, the French pianist and teacher Pierre Sancan, with “Mouvement,” a three-minute, pedal-to-the-metal whirlwind of pianistic flourishes that at one point require the left hand to play a phrase at the top of the keyboard and the right hand at the bottom. Most effective was his command of every nuance in Ravel’s “Miroirs,” a collection of pianistic snapshots that demand flowing arpeggios, supple rhythms, climactic chords, and an impeccable sense of rhythm and rubato. Handling the keyboard for his mostly-Ravel recital on Thursday in Harris Hall, Jean-Efflam Bavouzet got better and better as he climbed the ladder of difficulty for Ravel’s music. Ravel’s colorful piano music reflects Frenchness in every splashy, sinuous, seductive phrase.Īnd both composers’ music is darned fun to listen to, demanding the highest skills from players both technical and interpretive.
Williams’ American brashness jumps out of almost every score he wrote for some of the most popular movies ever. Except that both composers very much reflect their nationalities.
TASTY MOMENT ABOUT MOVIE
Maurice Cohn conducting and violinist Charlotte Rose Marckx playing the theme from "Schindler's List," one of the musical highlights of the John Williams performance.Īt a glance, John Williams’ movie music and Maurice Ravel’s piano music might have little in common - and of course, they don’t.
0 kommentar(er)
