Just in these few pieces the extent of technique to create beautiful visions for the listener is evident. Turn to the wondrously colourful Freire or the anarchically punchy Osborne for the full effect.
They make for fascinating comparison, as does a new disc from the year-old South Korean pianist Seong Jin Cho, who won the Chopin Competition.
The piece consists of a gentle melody and secondly inverted chords, as is to raise what was once below to the top, like a moon traveling around its planet. But turn to Osborne and be astounded by the way he finds as many shadings as there are Inuit words for snow.
Agitation comes in with dissonance and rapid notes, but then a brief moment of consonance comes in like and agreement. The piece does not seem to end, but rather trails off as if the machine will ceaselessly operate.
The stresses that come just before or just after the beat create a fanciful night world.
Related Papers. And so to the Images. It begins in the first measure, when a two-beat note seems appropriate, but Debussy decided to make it only two beats long. The knells of a church perform in the same way, each bell a separate component with its own melodic line.
But then sample Osborne and you find more risk-taking in the quietness, an unmistakable sense of dolour that pierces the heart.