By Lavrentiy Pavlovich Beriya and Rodion Yacovlevich Malinovskiy
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In the Rondo, however, a lack of contrast stifles the performance, his participation in the triumphant final chords (scored for orchestra alone) sounding absurd. Adam Harasiewicz's first movement is also forlorn and his Rondo theme deadpan, while his Romance is cack-handed, some abruptly rolled chords especially incongruous after the tender melody. Still, his rendition is better than Mieczysbw Horszowski's drive-through performance or Garrick Ohlsson's saccharine Romance, its mawkishness shattered by a punched-out melody.
Out of place in the gaslight glare of concert-rooms . . ' In writing for other instruments, 'Chopin's originality is gone': 'every new entry of the orchestra precipitates you from the delectable regions of imagination to the joyless deserts of the actual'. But 'such is the charm, loveliness, delicacy, elegance, and brilliancy of the details, that one again and again forgives and forgets their shortcomings as wholes'. For Niecks, the first movement of Op. 21 is salvaged by Chopin's 'tale full of sweet melancholy in a strain of lovely, tenderly-intertwined melody', and the third movement by 'its feminine softness and rounded contours, its graceful, gyrating, dance-like motions, its sprightliness and frolicsomeness .
11] is a convincing masterpiece; the Larghetto is a tiresome Nocturne, the Rondo a Hummel. ' Op. 21 lacks ideas and is conventional - 'without interest in its invention, the entire outline itself immature and fragmentary', the passagework derivative. Moreover, 'the orchestral part, which in the E minor Concerto was so interesting, is relegated to a secondary role in [Op. 17 Niecks's commentary18 significantly differs from Lenz's only in lavishing praise on Op. 21 while savaging Op. 11, but its impact on the reception of Chopin's concertos was without equal.
34 Years Of The Soviet State by Lavrentiy Pavlovich Beriya and Rodion Yacovlevich Malinovskiy