Indeed Schwarz's sly, conspiratorial pianissimos and asides in the finale of Concerto 21 remind me very strongly of the comical interjections of Leporello in the opera Don Giovanni. Through it all, Istomin remains almost totally aloof from the many intrigues swirling around him in the orchestra. Dramatic outbursts and wild contrasts of mood in the piano part are downplayed. Istomin seems far more engaged and alert when playing the cadenzas, at least in Concerto 21. These cadenzas are quite unusual in that they combine the best work of several different artists, including Paul Badura-Skoda, Lillian Kallir, Claude Frank, Leopold Mannes, and the soloist himself.
Balances are excellent.
Use of text, images, layout, format, look, or feel of these pages, without the written permission of the copyright holder, except as specified in the Copyright Notice , is strictly prohibited. All Rights Reserved.