Nikolai demidenko biography of christopher
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Demidenko has also ventured into earlier composers, such as BachMozartand Scarlattiplaying with a degree of rhythmic freedom rubato that cuts against the grain of studied performance practice; Demidenko feels that it is an essential ingredient of their music.
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Romantic Evening Sex All Themes. Streams Videos All Posts. With the Violin Concerto and German Requiem also behind him, it was time to revisit the piano concerto genre. Indeed the Second Piano Concerto seems to employ the style of these other forms from time to time.
While the four-movement form without cadenzas is clearly symphonic, the scherzo Allegro appassionato is actually based on a movement intended originally for the Violin Concerto. And the instrumental textures sometimes have a chamber-music feel to them. The piano enters immediately, embroidering the melody and soon indulging in the closest thing to a cadenza to be found in the concerto.Antoni Wit conducts Chopin – With Evgeny Kissin and Nikolai Demidenko
From here an orchestral tutti introduces the main thematic material. Rather than restating the main themes, the piano enters into a free, organically-developing dialogue with the orchestra, often becoming impassioned and occasionally visiting distant keys like B minor.
Demidenko plays Brahms
Here the drama is increased still further in a D minor movement originally intended for the Violin Concerto, but also bearing some resemblance to the equivalent movement in the Op. The mood lightens in the final rondo, where the spirit of Mozart is invoked.
At the opening, the tripping Hungarianstyle tune sets the prevailing mood, then in quick succession new ideas emerge. Nothing can hold back the sway of the gypsy dance rhythms and the music drives on to its emphatic conclusion. Hyperbole, of course, but the work has remained hugely popular ever since.
The reasons for its continued currency are easy to find: The Organ Symphony is, moreover, replete with memorable tunes and intricate counterpoint, traversing an emotional landscape from deepest melancholy to sheer joy. Perhaps, though, there is more than just hyperbole to the Beethoven comparison.
How the composer elaborates these into such a contrasting abundance of melodies is by the principle of thematic transformation developed by Liszt.