© AI Training forbidden - Selected Classical Music in the Poland of Chopin - Reviewer's Notebook

Ignacy Jan Paderewski (6 November 1860 – 29 June 1941) starring as himself in the innocent and lyrical film  Moonlight Sonata  (1936). Highly recommended. For those of you who have written to me concerning my absence as a reviewer and internet commentator in this competition, thank you. Disappointingly, I have simply not been engaged again for the competition. And yes, I was very fond of writing for this remarkable and uniquely inventive musical event over the past ten years. Justified policy development and modernization for the contemporary world takes precedence. Tempus transit gelidum   The Canadian pianist, musicologist and writer Jarred Dunn has taken my place, a musician far more musically qualified and locally known in Bydgoszcz. He comments on performances and arranges high level musical contacts and interviews online locally with the jury, competitors, conductors and professors in the US and Canada. His work appears to be an engaging and constructive new connect...

Hina Maeda (PAP) I am in Darmstadt in Germany so I was unable to attend the finals of the Wieniawski Violin Competition. I was overwhelmed by the playing of the Brahms Violin Concerto by the winner Hina Maeda watched online. The young Johannes Brahms (seated) and Joseph Joachim Joseph Joachim (1831-1907) was an Austro-Hungarian child prodigy who became one of the great violinists of the 19th century. He played Beethoven's Violin Concerto at the age of 12 under the baton of Felix Mendelssohn. Brahms was only 14 when he first heard Joachim perform the then neglected concerto in 1848. Brahms remarked to Joachim: 'I reckoned the concerto to be your own… I was certainly your most enraptured listener.' They became friends some years a later, sharing a love of past masterpieces and the priority of music having a deeper meaning beyond virtuosity and cheap thrills. Brahms did not write his own violin concerto until 1878 during the summer while staying at picturesque Pörtschach am Wö...

“I began to discover pianos from many different eras and regions, and the idea of making a recording which shows a glimpse to their diversity was just the ultimate decision”  Aurelia Visovan. Photo by Wojciech Grzedzinski I first heard this remarkably individual and deeply musical Romanian pianist at the  1st International Chopin Competition on Period Instruments in Warsaw 2–14 September 2018. Of her playing of Chopin on that occasion I wrote as notes: Her wide and extensive experience playing the harpsichord and fortepiano was clear from the outset. Visovan understands the sound and colour palette of the  Pleyel instrument intimately [...] The transparency and colour she extracted from this instrument put me in mind of gazing in wonder at the radiant stained glass windows of Chartres Cathedral [...] The undamped overtones provided a magical sound landscape. Not for the first time I was reminded of Dinu Lipatti.  I suppose all Romanian pianists adore his Chopin...