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I think Abbado is behaving very silly. It is obvious he would not
have been able to work with our hero, the not very puristic Mr.
Gould. Abbado probably wouldn't have allowed GG to play his cadenzas
in Beethoven's first (especially not the extravagantly modern one in
the third movement), and would have critizied him for the added
octaves and other matters in the Mozart 24th. I agree with Ms.
Grimaud that the cadenza must be the choice of the pianist. Also in
music history it has been more the rule than the exception to do
something extra in the cadenza, be it in a virtuoso vein or a
departure from the idiom which the work was written in. In this
context, Busoni's candenza is rather timid -- but also very
beautiful -- in comparison with many other examples.<br>
<br>
I urge all of you to listen to Horowitz' wondeful recording of the
work in question (Mozart's 23rd). Here's the filmed perfomance (the
cadenza is at [8:45]):<br>
<a href="http://www.youtube.com/watch?v=9vttZzUPg3A">http://www.youtube.com/watch?v=9vttZzUPg3A</a><br>
<br>
/Jorgen<br>
<br>
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<br>
<font style="font-size: 16pt;" size="4">"Titans clash over a
mere cadenza"</font><font style="font-size: 16pt;" size="4"><br>
</font><font style="font-size: 16pt;" size="4"><br>
</font><font style="font-size: 16pt;" size="4">The very first
news item I heard on my clock radio this morning:</font><br>
<br>
<a moz-do-not-send="true" href="http://">http://www.nytimes.com/2011/10/31/arts/music/helene-grimaud-and-claudio-abbado-part-ways.html?pagewanted=1&_r=1</a><br>
<br>
<font style="font-size: 16pt;" size="4">So Ferruccio Busoni has
put an end to the long, happy Grimaud-Abbado marriage.</font><font
style="font-size: 16pt;" size="4"><br>
</font><font style="font-size: 16pt;" size="4"><br>
Mary</font></div>
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