makes Minimal, in the range of milliseconds, and yet enchanting, the delays, the Grigory Sokolov in the fourth and eighth cycle of the subject of the input variations on Wolfgang Amadeus Mozart’s piano Sonata in A major, KV 331. You don’t happen randomly at these locations, also on the grounds of any “expression”; rather, they highlight semi-final and final, middle and end of a classic Phrase.
Jan Brachmann
editor in the features section.
F. A. Z.
This could now, just by the emphasis on symmetry, something Abgezirkeltes and Verzopftes get. But that doesn’t happen. Sokolov, in his wisdom, reminds us of how the “Phrase” comes from the language and the dance. By both it is connected with the body. The delays are for the comma and the point at which we breathe when Speaking. They also represent the turning points of the “period”, circulation when you couple dance, where the bodies touch or separate from each other. Musical Syntax and playful design To have so back to forms of the human Gangs. And Sokolov shows us that we live in these forms, breathe, we can move. You don’t suffocate us.
house music is basically what Sokolov on this evening in the Large festival hall Salzburg, Mozart’s A-major Sonata, surrounded by his C major fantasy, KV 394, and the Rondo in a minor KV 511, followed by Robert Schumann’s “Bunte blätter” op. 99, a hundred minutes of music that could be normally gifted players of the fourth to sixth year of Teaching, twelve-year-old children coped with, not a hammer, piano Sonata, no Études-Tableaux, no Mephisto waltz, for which it needed a virtuoso. And yet you hear that Can and experience this now seventy-year-old pianist, this music is something else – or rather, what emerges is what is actually in it.
