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The Russian performing school is often characterised by an almost total disregard for well-established traditions and performance culture. This, of course, has a good reason due to the country's isolation from the world for many decades of the 20th century. Some choose to find in this a fresh approach, others see a manifestation of elementary arrogance. Trifonov's new album provides an opportunity to reflect on this subject. Bach performed as if it were something midway Scarlatti and Tchaikovsky? Funny, but not my cup of vodka, definitely.

 

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12 hours ago, AnotherSpin said:

Bach performed as if it were something midway Scarlatti and Tchaikovsky?

 

I gave only Contrapunctus 2 a listen. I compared it with Nikolajeva (Helsinki recording), Hewitt and Nosrati. One track is not the album. But if you like Bach, there are imho better options.

 

This has imho nothing to do with Scarlatti (not that familiar with Tchaikovsky). YMMV of course.

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9 hours ago, WAM said:

 

I gave only Contrapunctus 2 a listen. I compared it with Nikolajeva (Helsinki recording), Hewitt and Nosrati. One track is not the album. But if you like Bach, there are imho better options.

 

This has imho nothing to do with Scarlatti (not that familiar with Tchaikovsky). YMMV of course.

 

The analogy with Scarlatti emerged in other parts of the album. Specifically on the Art of Fugue, there is hardly a rendition that can be confidently acknowledged as definitive. Nevertheless, Koroliov, Charlie Rosen, or Zhu Xiao-Mei are interesting, for example. Gould, of course. 

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