The common ground that musical performers and critics share concerns the basic essentials of interpretative genius, not least a discernible musical personality, respect for — rather than slavish adherence to — the score, a musical sense of timing, a feeling for period and appropriate style and, more vital than anything, that indefinable quality that signals a symbiotic rapport between the performer and the composer.
Some choices are rather telling, or at least they seem so to me. Which might explain the occasional oddball recommendation. No accusing fingers, I promise!
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This sensation of meaningful sharing is much the same as when critics talk to like-minded colleagues: the idea is to focus an authentic reaction. But where a performer incorporates those experiences into an interpretation, we have to write about them, though there are plenty of verbally eloquent musicians around — Alfred Brendel, for example. Which brings me to one final point; what artists experience when they read critics on their own performances and whether that in turn colours their attitude to the writings of those same critics on other performers.
How the Composer George Benjamin Finally Found His Voice
Rob Cowan. Dietrich Fischer-Dieskau bar Christoph Eschenbach pf. A spectacular and dramatic interpretation, all Ring -lovers will want this in their collections. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Skip to main content.
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