I've heard Di Wu several times in person, and I still can't believe she didn't get the gold at the Van Cliburn. Frankly, she was head and shoulders above the medal winners.
I like your interpretation of no.1 very much. The big rubatos are typical of Medtner's own recording. I like Campanella too. It would be even better if it was more al rigore di tempo. In particular, the sudden speeding up in bar 118 spoils it (it's difficult not to, I know). With all the light and shade you give the piece, it won't sound mechanical, as do some other performances. The two pieces make an excellent illustration of the two different styles of playing Medtner taught to Edna Iles: 'flessibile' and 'al rigore di tempo', as discussed in Karpeyev's thesis and demonstrated in Medtner's own recordings. Medtner was so insistent on this interpretation of Campanella that no only did he write a footnote to the initial marking in the printed score, instructing it to be observed throughout the piece, but on a copy wrote "Whoever finds it boring to play this al rigore di tempo had better leave this piece alone". He only eases up twice in his own recordings: momentarily in bar 61, and right at the end. In bar 51 it's Eb not E in the LH. This is an error in the Collected Edition (Dover). It's Eb in the original edition, and Medtner plays Eb in both his recordings. Eb is obviously musically better in the context of the preceding bar so it's surprising so few pianists, even Milne, have not picked it up. There are several other misprints in this edition, the majority fairly obvious; for a list see medtner.org.uk .
"Campanella" is the name Medtner gave to the second of the two pieces in Op. 20, which she does play here. It starts at about 3:16. (Other composers besides Paganini and Liszt can call a piece "Campanella"!)
![รวมเพลงลูกทุ่ง 6 หนุ่มไทบ้าน ฮิตติดกระแส ชุดที่ 1 l มนต์แคน ไมค์ ไผ่ เสถียร ไหมไทย พี [Longplay]](http://i.ytimg.com/vi/GD2v1OjMw5I/mqdefault.jpg)
Fantastic! Bravo Di Wu. Her Ravel Ondine is also amazing.
I've heard Di Wu several times in person, and I still can't believe she didn't get the gold at the Van Cliburn. Frankly, she was head and shoulders above the medal winners.
the best i ve ever heard...!!!
I like your interpretation of no.1 very much. The big rubatos are typical of Medtner's own recording. I like Campanella too. It would be even better if it was more al rigore di tempo. In particular, the sudden speeding up in bar 118 spoils it (it's difficult not to, I know). With all the light and shade you give the piece, it won't sound mechanical, as do some other performances.
The two pieces make an excellent illustration of the two different styles of playing Medtner taught to Edna Iles: 'flessibile' and 'al rigore di tempo', as discussed in Karpeyev's thesis and demonstrated in Medtner's own recordings. Medtner was so insistent on this interpretation of Campanella that no only did he write a footnote to the initial marking in the printed score, instructing it to be observed throughout the piece, but on a copy wrote "Whoever finds it boring to play this al rigore di tempo had better leave this piece alone". He only eases up twice in his own recordings: momentarily in bar 61, and right at the end.
In bar 51 it's Eb not E in the LH. This is an error in the Collected Edition (Dover). It's Eb in the original edition, and Medtner plays Eb in both his recordings. Eb is obviously musically better in the context of the preceding bar so it's surprising so few pianists, even Milne, have not picked it up. There are several other misprints in this edition, the majority fairly obvious; for a list see medtner.org.uk .
incredibly virtuosic, musical playing. maybe in the Campanella others have brought more clarity, but i've never heard it more polished and powerful.
What Campanella?
This is a Medner piece .
"Campanella" is the name Medtner gave to the second of the two pieces in Op. 20, which she does play here. It starts at about 3:16. (Other composers besides Paganini and Liszt can call a piece "Campanella"!)