Classical music thread welcoming your suggestions and why...

When i said in the post above : «Music is not two dimensional at all for sure...

But musical time is two dimensional... vertical pulsative dimension and metronomical horizontal dimension... Physical time had only one direction : from past to future...» Musical time then own two directions instead of one...

I forgot a very important precision to be rightfully understood...

In the metronomical horizontal dimension as in the vertical pulsative dimension, the two dimension and directions of musical time , THERE IS NO PAST and THERE IS NO FUTURE as in the physical time dimension...And no pure direction from a known past to an unknown future ...

in the two musical dimensions the "measurable" horizontal one and the non measurable pulsative one, only the present moment exist the now but not as a point as in the physical time dimension but as a sphere... In music a past note or a future note is always here or is BEHIND or forward not a past or future event but as participant in the eternal now which is a pulsative spiraling movement toward inward or outward never lost in the past or not there at all as a mere  future... The now moment is like a tree which is at the same times root, and canopy and seeds ...The now momwent is not an abstraction because it is music felt...In a way in musical time dual dimensions, the past and the future are known together , but only the now moment is FELT...

Then the two directions of musical time dont exist in physical time, when they are reduced to it though  , it is as a ghost, or as a spectral reduction of the eternal now  to metronomical time which is at the same time the grave  of music and the door of the awaiting musical resurrection...

Thanks for your post...

I cannot contradict you about Pollini... The search for perfection, when i feel it , kill for me the spontaneous playing imprevisible creation...

Pardon the thread drift, but say what you will about pianist Maurizio Pollini possessing more finger speed than soul, more often than not he’s my go-to guy when I want to hear some Chopin. Out and out exhilarating. I might have mentioned it in another thread, way back when, but I saw him perform live, once upon a time in L.A. Hair flying, reach-out-and-mow-down-the-stars virtuosity.

  I have been out of town for my mothers funeral so I haven't had a chance to keep up here.  I agree that Pollini and Moravec are two very different Debussy players.  Moravec has that warm buttery tone while Pollini has such fine etching and leonine strength.  The music however, can survive both approaches.  I prefer M.P. here, but for years the only recordings that I knew of the Debussy Preludes were those of Michelangelo, who was M.P. teacher.  Pollini very different Art does lead to equally exquisite poetry. 

   Barenboim has stated throughout his career that he wants to emulate Furtwangler.  He was the chief conductor here in Chicago for many years so I am very familiar with his work.  A recording that he made of Beethovens Third Piano Concerto, when he was a teenager and before discovering his Furtwangler Passion, was one of my earliest acquired ops.  Lets just say that D.B. has phenomenal natural musical instincts, but in attempting to superimpose the style of W.F., he frequently misfires.  He just doesn't seem to have that innate ability to convey his vision to others unless he slows things down to near stasis, but without the inner light that a Furt or Cell had, it just sounds slow and bloated

I wish you the best in these time of personal trials...

My sympathy for your mother lost...

I dont think that someone can imitate or be inspired by someone genius hoping to emulate him,... Each genius is unique...It is why Pollini is unique, liking him or not...

D.B. whom you know way better than me is for me as you described him...I cannot speak about him...

I dont believe that there is ONE METER to compare all musicians... We must learn to listen, at least me, to understand more with each passing years... At the end all geniuses are recognized by us , even those we dont like as much as others... because we  have learned even if we keep our biases and preferences...

Now for those who look for a not well known absolute treasury of piano "repertoire", the mighty Samuil Feinberg, whose fourth sonatas was praised by Scriabin himself...

As i already said, Scriabin nor Feinberg are for me secondary composers, but great one....Feinberg is a Scriabin disciple....

Here it is double CD BIS recording. Nikolaos Samaltanos plays the piano in the 1,4,5,9,10,11 sonatas. In the other sonatas (2,3,6,7,8,12) plays Christophe Sirodeau.

The two pianists to my heart and ears are more than just good....

Feinberg sonatas are massage of the soul and spirit dialogue....The dual musical time dimension are together woven in a continuous flyings between heights and depths , the melody is born only to return different toward his original source....I cannot fault Feinberg... It is with Scriabin my prefered works in the Russian piano school... The greatest piano school on earth by far...For sure it is only my opinion, feel free to differ... 😁😉😊

One word can resume these sonatas for me :

"Enthusiasm" , which meaning came from ancient greek i studied in my teen and i remembered for all my life the stunning etimological spelling :ἐνθουσιασμός from ἐν (en, “in”) and θεός (theós, “god”) and οὐσία (ousía, “essence”), meaning "inspired by [a] god’s essence"...

The melody, rythm and harmony are only there to suggest a journey toward a never taken road toward a higher truth....

As claimed the Mathematician Alexander Grothendieck in his stunning 1000 pages book about God ," la clef des songes" untranslated alas! in English and even not officially published save as a PDF on the internet , "truth" cannot be defined....

The greatest Christian mystic before him, Dyonisos the Areopagyte demonstrated why and inspired completely Georg Cantor, who know him well because he taught also theology , for his set theory foundation and pre-axiomatization principle of lim itation of size , the greatest mathematician before Grothendieck...Cantor and Grothendieck are without any possible discussion the most influentials and deep mathematicians in mathematic history, on par with Archimedes, Newton, Gauss or Riemann...

Feinberg Sonatas