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  • Marina Akimova

A bow? A keyboard? Both.


I know for sure that this pianist, Lucas Debargue, would be a super violinist. Or maybe he was in a past life, if a past life exists. How would I know that? From there, that in the descending scales, soon after the beginning, he has time to hear the resolutions of unstable degrees and all the halftones, and these halftones flicker, thanks to a tiny, not even micro, but nano difference in the color of the neighboring notes - the difference that is with the bow so easily and almost unconsciously done, when you just want to. And if he was a violinist, these halftones would be delightfully narrow, so that it would almost wound the ear. This is what I call for myself - to play in detail, and it does not mean that the player will get stuck and lose steam. Hearing little things has nothing to do with swelling up the phrase, and even more so with the length of breathing at a wind player or the length of the bow on the strings, which supposedly limit the phrase to certain borders. This is heresy, nonsense and myths. It is not necessary to get off the rhythm to hear all beauty of conjugations and intonations - it can be made without having stirred at all (and that it does in these scales).

And the most striking thing is that with all its bow subtlety it is absolutely pianistic in sound, if you take this crystal, bell-shaped beauty as pianistic, in which in addition you can clearly hear something gently powdered, as if the hammers were covered with pollen...




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