He starts, as often, by getting at the theme from a side angle, with one hand, then two in unison. Next he exposes the theme with more and more rhythmic, harmonic and melodic alterations until hitting a brief stride passage followed by virtuoso scales. Here you may fear the worst, but the theme comes back and undergoes more metamorphoses, including a short coverage in the very low register that is surprisingly musical. And just when you are beginning to get used to Solal's way of dealing with a standard, suddenly it's over. Applause, laughs, speechless signs of surprise (one supposes) … That's about the diversity of reaction that Solal expects from a listening audience, and one wishes that all the musicians who played the Vanguard before him had found such a rapt and respectful reception.
January 19, 2009 · 0 commentsTags: corcovado
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