Russian fortepianist Olga Pashchenko has had teachers on both the Russian (Alexei Lubimov) and the Western (Richard Egarr) sides, and she might be the one to put these ingredients together into a mix that makes a historical-instrument star. Here she plays a Christopher Clarke copy of a Viennese Fritz fortepiano of 1818, not exactly contemporaneous with the music involved, but close to it and just a little bit clearer sonically. The music is early-to-middle Beethoven, with the central slots occupied by two large variation ...
Read More
Russian fortepianist Olga Pashchenko has had teachers on both the Russian (Alexei Lubimov) and the Western (Richard Egarr) sides, and she might be the one to put these ingredients together into a mix that makes a historical-instrument star. Here she plays a Christopher Clarke copy of a Viennese Fritz fortepiano of 1818, not exactly contemporaneous with the music involved, but close to it and just a little bit clearer sonically. The music is early-to-middle Beethoven, with the central slots occupied by two large variation sets that exemplify the fearlessly experimental streak of the young Beethoven. The more familiar of the two is the set called here by the name Prometheus Variations, Op. 35, but better known as the Eroica Variations because the theme is the same as that used in the finale of the Symphony No. 3 in E flat major, Op. 55 ("Eroica"). Pashchenko exploits her instrument's chunky, big lower register well here as the theme builds innovatively out of its bass line at the beginning. Even more...
Read Less
