I've seen contestants in piano competitions play some large and impressive works when trying to stand out from their other competitors. Big and difficult works like Liszt's "b minor sonata" or Ravel's "Gaspard de la Nuit" are sure to get the judges attention, but there is also the fear of losing the audience.
It is not easy programming your first set at a competition. This week on The Piano, we visit more recordings from last October's San Antonio International Piano Competition.There are only two big and challenging works on the program.
A wave of great young pianists crashes into the Alamo City every three years to compete in the San Antonio International Piano Competition. Last October 11, aspiring artists arrived and prepared themselves to impress the judges at the usual venue - the Ruth Taylor recital hall. Luckily for all of us it was all recorded by John Coker.
Last week, we played Wagner's Parsifal, which is often referred to as an Opera-Oratorio. This week, for the beginning of the holiday season, it's Johann Sebastian Bach's St. Matthew Passion; in its turn, the work is often called a Concertante Opera. If ever there was an oratorio that called out to be dramatized, the St. Matthew Passion is it. While living in New York, I met many scenographers who dreamed of the day they'd have a shot at the cosmic drama. Also termed, "The most monumental musical drama before the Ring," Bach's passion has it all.