Tell me this was just a nightmare. As far as I know I am not on mind altering drugs. What next? Justin Bieber in the Mahler 4th?

A little explanation would go a long way? lol

Richter's surprisingly wide repertoire was even wider and more surprising than many have imagined ! According to the website trovar.com Richter's recording of this and the Piano Concerto in F was made in 1993 with Eschenbach and the Stuttgart Orchestra.
If the recording on youtube is in fact Richter (and not a 'scam')then I have to say that I have recordings of it in my collection which have far more rhythm and drive !

"<..>As a conductor, Christoph Eschenbach is very kind to his soloist: he manages to be even duller. Stay away.

--David Hurwitz"

That was worth reading just for the reviewer's way with words!

There was a recording of Richter playing Chopin Ballade 1 that also wasn't that good... I remember him getting to the coda, and I started cringing from all the wrong notes, sloppiness, and terrible use of pedal...

I agree, I've heard better performances of the Gershwin Concerto, but it's a good thing I know Richter is (was) much better than this.

Eck, terrible. Richter's discography seems to be spotted with diamonds from heaven, and coals from hell.



Oh well, thats what my favorite pianist gets for performing my least favorite composer.

Let it be known chaps ... that I play this foot-stompin’ Gershwin Concerto in F ... as a daily finger warmer ... before getting into the real business of the day (in your dreams mate!!) ... but then I was coached by cigarette-smoking Oscar Lavant (An American in Paris) over the tricky bits.

But who is this new chappie called Rubinstein who apparently makes a muck of it ?... sorry fan ... about the tongue-in-cheek .

Where is Earl Wild when we most need him? Show me a better recording of the Gershwin.

I have yet to warm up to Gershwin. I mean I "like" his music but it does not permeate me, nor does it invite me for more.. I know this is nearly blasphemous , but..

Well of course it is blasphemous, but I will forgive your transgression.

Funny how it goes. I have been chastised, no vilified!, on this board for not responding rapturously (like everyone else) to the Mahler symphonies, and most recently Messiaen's Vingt Regards sur l'Enfant Jesus. (Actually parts of it I very much like.) But we all respond very differently, and there are so many factors involved which cause such a divergence in opinion. This is good.

FWIW, I consider Gershwin one of the greatest composers of all time. You don't go there for the profundity of late Beethoven, the incredible time scale (and final release) of Wagner, the satisfying perfection of Bach, the dazzling accomplishments of Liszt, the outrageous and unkempt genius of Mussorgsky... on and on...

But I cannot think of another composer besides Mozart who produced the highest quality music with such effortless abandon.

Might I slip in an old-dog’s comment fan on Gershwin ... adding “you don’t go there for”
(with my finding bracketed to keep the pot boiling)

The profundity of late Beethoven (format due to deaf chappie’s need to bash the keys)
Incredible time scale of Wagner (ill-humoured twit frigging around amidst the Goden)
Satisfying perfection of Bach (boringly repetitive ... if only he had travelled a bit)
Dazzling accomplishments of Liszt ... (lacking in creative originality, but a good borrower)
Outrageous unkempt genius of Mussorgsky ... what imagination!! ... Ravel orchestration.

what do you go there for, then?

What I find great about Gerswhin's concerto, is the sheer amount of wit in it. He switches styles and themes amazingly well. And how it all culminates at the end of the last movement. After listening to Richter, he plays it too much like Rachmaninov.

Respectfully request evidence of said vilification. (Are you sure you aren't exaggerating a bit?)

P.S./N.B. Sarcastically slamming Mahler out of the blue and then receiving some flak due to your attitude does not count!

Andromaque, my dearest mate, were you referring to me or btb?

I go with the awesomely talented New York Jewish boy who had everything going for him, why did he have to die so young?

One listen to Gershwin's song 'How long has this been going on?', and we are in the rarefied realm of Billie Holiday's 'Good morning heartbreak'.

As a love-struck -and disappointed- teenager, I'll never forget waking up one morning only to find that my nightmare had not finished.

Yes, I am. I enjoy my position on this board as the renegade Mahler guy... but damn, the middle movements of Mahler 7 get me every time. Absolutely incredible stuff.

I haven't heard Mahler 7 in a long time and it is time for me to hear it again.

Sorry that I missed Prom 2 completely, by the way (Die Meistersinger). I kept flopping down on my sofa after work night after night and forgetting to check what was on. I missed the whole of Part I of Mahler 8 on the first night too. I must confess that I have only been able to enjoy Wagner as orchestral highlights so far. When screeching and booming is involved (sorry), I usually have to know for a fact what notes are supposed to be sung from the score or having played a transcription, to pick those notes out of the wide vibrato envelopes being presented to my ears. But I suspect the singing in Prom 2 could have been really good, so I missed my chance.

Regarding Mahler's worth compared to Wagner, that you brought up in the proms thread, don't you think that he stands equal when it comes to the effectiveness of, say, the last movement of the 3rd, or the slow movements of the 4th and 6th, or the atmospheric introduction to Part II of the 8th?

And as I'm sure you already know, Mahler has been played in a more cool, cerebral way to critical acclaim by conductors such as Inbal; his music does not equate to "emotionally indulgent, highly strung, etc.". It can be that way, but it doesn't have to be.

Back on the subject of the Gershwin concerto, I think it's the undoing of a soloist to have a special agenda, to "prove" either that the work has sufficient weight or seriousness, or that he/she can play the jazzy elements effectively. I say, if you love the work, just trust yourself, and play it as you feel it. (Easily said from my comfy chair, of course!)

I did listen to Mahler 8 (quite a glorious racket!), and managed to get through the Wagner. I cannot think of another opera I have ever heard (and I have seen it at Covent Garden) wherein I'm absolutely laughing and crying at the same time. It is a totally remarkable experience, very unlike Tristan or the Ring. Die Meistersinger is sort of like a bloated Gianni Schicchi, and if Puccini makes his point in a 5th of the time, well good on him.

Julian, you are aware that for numerous reasons, I am currently living in the United States? Wasn't all my idea, but it was something that needed to happen. I have visited Exeter several times and have met the DoM at the cathedral, Andrew Millington. Fine chap.

Be that as it may, he was never a carbon copy of anyone else



Domenico Scarlatti, and possibly, Schubert.

I am aware, but I momentarily forgot when I talked about the Proms as if you'd be tuning in as usual! I hope the move has been a good one for you.

I live about 150 yards from Exeter Cathedral and I walk past it twice every day. (It's a trippy juxtaposition, the bland high street with a side street suddenly opening up to a view of that cathedral!) This city has a lot of nice things about it, but I don't see myself surviving here for more than another year at most, due to the incessantly cloudy weather. If I don't get to a sunnier place soon I think I'm going to wither and die inside. I hope to escape to the Brighton area next spring if possible.