You can also find price comparisons from sellers that I met, so you really get the price currently for this product. So you are not disappointed after buying it and in accordance with the product you need. To ensure that your transaction goes smoothly and everyone comes out satisfied, I'll give you some tips before you buy this product. If so then this is the right site for you. A must-listen that will have a lasting place on my shelf.Are you interested in purchasing Adler Alto Recorder and that means you looking the price this product? or you want to read reviews written by actual consumers who have purchased the product? This album adds yet another angle to his already impressive versatility as both a performer and an interpreter. He may not be the most dramatic performer out there-but the allure lies in the fact that his performances are undoubtedly captivating. What sets Ólafsson apart from many other artists of his generation is a rare level of sophistication: in choosing to focus on more minute aspects of the music, he reveals new and intriguing details about a piece we may have heard countless times. The sound engineering matches up to the high quality of the performance, capturing the appealing sonorities of a well-regulated instrument.
The trajectory is also well-crafted and shows the connections between all the composers back to Mozart as the centerpiece. This is fortunately the case here: the descriptions, while concise, are insightful and, above all, heartfelt. It’s always nice but not all that common to find liner notes written entirely by the performer. He utilizes the instrument’s different registers in tandem with his own pianistic sensitivities in the first twenty seconds alone, we can hear a plaintive flute echoed by an oboe, then followed by tuttî strings. While it is evident in the first movement, it’s at its best in the final Allegro Assai. In a contrast to the brightness of the Sonata Facile, the C Minor Sonata (tracks 17-19) offers what the pianist describes as a “theatrical tragedy.” We certainly experience this from his playing, which takes on a symphonic profile. Some of the voicing changes do seem a bit forced at times, but in the larger context, they demonstrate an earnest acknowledgement of the work’s complexities. He makes some thoughtful choices in the repeats, for example a switch-up of the articulation in the accompaniment helps give rise to an unexpected shift in character. Yet still, there is a playful innocence that prevents meticulousness from dominating. From the first movement’s Alberti bass to its running scales, we get the sense that every single note has its place and importance. Second is the performance itself: whatever struggles he had with the work have clearly paid off. More importantly, it’s an honest reflection upon the intricacy and challenges of a deceptively-titled piece. The performer preempts the risk on two fronts: first, his liner notes offer a humorous anecdote about his childhood frustrations with the sonata. For what is often unfairly dismissed as a hackneyed children’s piece, a memorable performance has to offer something especially meaningful. Presenting a piece like Mozart’s Sonata Facile (tracks 12-14) can have its perilous risks. As for the A minor (track 7), a quiet but tasteful accompaniment supports and allows the somber melody to shine through beautifully. He uses pedal points in the D minor (track 4), sometimes deep in the lower register of the instrument-this is an effective move that creates dimensionality and underscores the melody’s haunting chromaticism. Ólafsson writes that the two Cimarosa sonatas are sparse in their original forms and that he has made adjustments to suit the capabilities of the modern piano.
As for the flurries of arpeggios that appear intermittently, they are not just pristine: they, too, carry a sense of phrasal structure. A good example is in the call-and-response pattern (0:17-0:28) between the top and the middle voices that starts subtly but becomes increasingly pronounced as the music builds. The pianist’s interpretation blends musicality and intelligence: a mellifluous tone sets the foundation for conversations between lines that might otherwise go unnoticed. Refinement is the name of the game in Galuppi’s Andante spiritoso (track 1), which Ólafsson mentions for him has inspirational ties to Mozart’s G minor Symphony.
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