• Hi Saul,

    just wow! Behind the facade of few recurrent figures lies so much elegance and your performance actually unveals it all.

    Thank you for having posted it!



    • Thank you Gabriele! Glad you liked it!


      Best Wishes,



  • Like a fusion of Mendellshon and Debussy, if such a thing were possible  ("Preludes Without Words?")  Very bright and sunny. Delicate, yet powerful, the way Spring is, when life begins to stir, and becomes a cacophny of color and sound in Nature's irresistable return after the long Winter. (Many here in the States are looking forward already to Winter's return, however, with ridiculous heat afflicting much of the country).

    Great playing as always Saul. i can only envy those of us on the forum who can actually play an instrument well. I should have kept up with my piano lessons as a kid...

    • Thank you Michael for your kind words.

      Yes I think its possible to make a fusion between Mendelssohn and Debussy. Many people will be suprised to know that Mendelssohn was considered one of the great tone poem composers with an emphasis on color use, please take note of Hebrides and Midsummer's Night Dream overtures among others where he set the motion for future composers to develop impressionism. 


      As for you playing the piano, I believe its never too late. Maybe you can begin taking some private lessons...


      Best Wishes,



      • I agree, Mendelshonn had his impressionistic moments. In the Reformation Symphony, No. 5, there is what sounds to me like a depiction of Luther furiously cranking out the "99 Theses," and then a series of hard chords which could represent them being nailed to the door of the Wittenberg church. The writing part is represented by 16th or 32nd note string arpeggios. 

        I've always thought that Vivaldi's "Four Seasons" is one of the most impressionistic pieces ever written. In fact, music has always had impressionistic elements. Early wind instruments may have been created to mimic bird song, for hunting or perhaps religious purposes. that said, the way the term is used usually refers to a specific period in French music, specifically the music of Debussy, and by extension perhaps, Ravel. Debussy is reported to have hated the term when applied to his music, but it was probably inevitable, given that people were into Impressionism in painting, and Debussy was giving his pieces titles like "Reflections On The Water." If he wasn't trying to create a new movement in music, parallel to the one in painting, he sure did a good "impression" of doing so!

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