This is the best recording and performance of this piece I've ever heard. It blew me away. The tempo allows it to speak with authority and rests in the pianist's hands like water in a lake. Brahms' chamber music is without equal and this pianist and orchestra (and 'cellist") play it like chamber music with the wind behind them. THE VOICING! Well, no one voices like Dinova does. Every phrase satisfies. The separation of the lines is as clear as Gould, as unique in imagination as Horowitz, and as rich is sound as if she were an orchestra all by herself. Tragedy is transformed into beauty. I think the best of art does that. The small Brahms pieces on the CD are exquisite - the second is especially astonishing. I had to listen to it 5 times on my way home and it's still speaking to me. Why she isn't playing and teaching all over the place is beyond me. It's criminal. A friend of mine once answered that question as follows: "It's got three letters. E. G. O. She doesn't have one." People can't understand that. Maybe it makes them uncomfortable. Maybe it makes theirs look fatuous. Maybe it has to do with one of the themes running through great literature - good men make us uncomfortable - Tietjens in "Parade's End", Myshkin in "The Idiot", the priestess in "The Sybil", Huck Finn . . . I could go on and on. Is that why? Or does she threaten the rest of us because of her authenticity, generosity of spirit, innocence, and sheer beauty. This culture (American) is more sterile every day. The U.S. is a cultural desert. At least she occasionally plays in Russia and Europe. Twice, with my friends Don and Josh, I compared the performance on this recording to 10 others (Pollini, Richter, Lupu, Serkin, Zimmerman. etc.) No one even comes close. She should be playing all over the place. Why isn't she? Why isn't she teaching? Get this recording. You need it. It will change your life.
This glorious version does a wonderful job of conveying the monumental character of this grandest of all concerto movements. From beginning to end, the majestic sweep of this heroic musical writing is maintained by both soloist and orchestra. Very impressive!!!
I wholeheartedly agree! Halida is a very dear friend. One wonders where this gentle, meek and sincere girl gets the power and conviction displayed in her keyboard prowess.
This is the best recording and performance of this piece I've ever heard. It blew me away. The tempo allows it to speak with authority and rests in the pianist's hands like water in a lake. Brahms' chamber music is without equal and this pianist and orchestra (and 'cellist") play it like chamber music with the wind behind them. THE VOICING! Well, no one voices like Dinova does. Every phrase satisfies. The separation of the lines is as clear as Gould, as unique in imagination as Horowitz, and as rich is sound as if she were an orchestra all by herself. Tragedy is transformed into beauty. I think the best of art does that. The small Brahms pieces on the CD are exquisite - the second is especially astonishing. I had to listen to it 5 times on my way home and it's still speaking to me. Why she isn't playing and teaching all over the place is beyond me. It's criminal. A friend of mine once answered that question as follows: "It's got three letters. E. G. O. She doesn't have one." People can't understand that. Maybe it makes them uncomfortable. Maybe it makes theirs look fatuous. Maybe it has to do with one of the themes running through great literature - good men make us uncomfortable - Tietjens in "Parade's End", Myshkin in "The Idiot", the priestess in "The Sybil", Huck Finn . . . I could go on and on. Is that why? Or does she threaten the rest of us because of her authenticity, generosity of spirit, innocence, and sheer beauty. This culture (American) is more sterile every day. The U.S. is a cultural desert. At least she occasionally plays in Russia and Europe. Twice, with my friends Don and Josh, I compared the performance on this recording to 10 others (Pollini, Richter, Lupu, Serkin, Zimmerman. etc.) No one even comes close. She should be playing all over the place. Why isn't she? Why isn't she teaching?
Get this recording. You need it. It will change your life.
This is my second favorite recording to Arrau’s
This glorious version does a wonderful job of conveying the monumental character of this grandest of all concerto movements. From beginning to end, the majestic sweep of this heroic musical writing is maintained by both soloist and orchestra. Very impressive!!!
I wholeheartedly agree!
Halida is a very dear friend. One wonders where this gentle, meek and sincere girl gets the power and conviction displayed in her keyboard prowess.