Ji Liu - Schubert Sonata D.571 and Rzewski Winnsboro Cotton Mills Blues (Verbier Festival 2017) скачать в хорошем качестве

Ji Liu - Schubert Sonata D.571 and Rzewski Winnsboro Cotton Mills Blues (Verbier Festival 2017)

In 2017, I gave a recital with a programme with pieces influenced by elements of “Nature”, “Violence”, “Illusion” and “Emotion” at the Verbier Festival in Switzerland. The programme was as following: FRANZ SCHUBERT Piano Sonata No. 8, D. 571 FREDERIC RZEWSKI North American Ballads FRANZ LISZT 12 Transcendental Etudes, S. 139 ALEXANDER SCRIABIN Piano Sonata No. 10, Op. 70 CLAUDE DEBUSSY Préludes CAMILLE SAINT-SAËNS / FRANZ LISZT / VLADIMIR HOROWITZ Danse macabre, Op. 40 This video is is subject to copyright for medici.tv, and is available in my channel only for promotional purpose Many thanks to medici.tv for their continuous support and generosity. --------------------------------------------------------------------------- As a performer, when I deliberately programme Schubert’s piano works in the context of pieces from the early 20th century (more precisely, impressionism and the pre-war period), several methods in the interpretation effectively change the way these pieces sound and the way they reflect and connect with each other. Among these methods, the choice of tempo and pace are two crucial elements, and they are the essence of revealing Schubert’s approach to nature and the character of violence in his music, and they are crucial in enabling them to offer responses to other composers’ works. My initial idea for performing such a recital programme was to fill the gap between each piece with silence (no public applause). By doing so, the silence holds the breath and pace of the programme, and the silence becomes another part of the music in that its opposite is sound. As John Cage said, “The material of music is sound and silence. Integrating these is composing.” But in reality, it is hard for people not to clap, especially when the concert hall was filled with some "electrified" liveness by the excitement of the performance! Nevertheless, the silence between Schubert’s Sonata in F-sharp Minor D.571 and Rzewski’s Winnsboro Cotton Mill Blues did work well. One of the reasons is that, due to the "unfinished" nature of Schubert's sonata (the first movement was incomplete without recapitulation and coda sections and stopped by the end of the development section), there is no traditional cadence just before Schubert ended the development section where the music stopped. So, when people were still wondering how the piece would actually develop next or what happened to this pianist’s memory—whether he lost his way—a powerful silence was created. And this is where Rzewski’s work starts – perfect timing. There are more reasons for creating this silence that makes these two pieces work. Among all of them, the similar perpetual rhythmic feature these two pieces share is one of the vital resemblances and vehicles which bounds both pieces from two seemingly unconnected worlds. So, it is the similar rhythmic paces in Schubert’s and Rzewski’s pieces that coherent them together. There are other elements that have encouraged such continuity and coherence between these two works and that have allowed such "unfinished" work to be presented in its original "imperfect" form and possessed its intrinsic spirits in a piece composed more than one hundred years later than its birth.