And now for something completely different. This is an age of historically authentic performances of Baroque music, and even those who perform Baroque keyboard works on the piano adopt terraced dynamics and other aspects of a harpsichord's sound. But here comes Florida-born pianist Tzimon Barto, recording in Finland for a Finnish label, saying in the interview that serves as booklet notes for this Rameau disc that "I pride myself on having 36 dynamic colors between ppp and fff ." Playing short pieces from four different ...
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And now for something completely different. This is an age of historically authentic performances of Baroque music, and even those who perform Baroque keyboard works on the piano adopt terraced dynamics and other aspects of a harpsichord's sound. But here comes Florida-born pianist Tzimon Barto, recording in Finland for a Finnish label, saying in the interview that serves as booklet notes for this Rameau disc that "I pride myself on having 36 dynamic colors between ppp and fff ." Playing short pieces from four different books of harpsichord selections by Rameau, he makes the staggering assertion that "I never want any two notes in a phrase to sound alike."As you might imagine, Rameau under Barto's fingers ends up sounding a bit like Chopin. Or composers from even later -- Barto says that Rameau was "already an Impressionist" and also name-checks Bruckner in explaining his mystical reading of "Les soupirs" from the "Suite in D" of the Pièces de clavecin of 1724. To pull off a performance...
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