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192: Pianist Tim Horton

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Content provided by Thoroughly Good Classical Music Podcast. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Thoroughly Good Classical Music Podcast or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://ro.player.fm/legal.

Pianist Tim Horton is a busy chap. Always playing the piano and playing it a lot. Wigmore Hall, Sheffield Chamber Music Festival, Ensemble 360. All manner of places. So I consider it a considerable triumph that we arranged to meet in person a week or so ago to talk about his Wigmore Hall Chopin project -- there's a concert on December 11 and one in March 2025. Its not simply the programme that I was drawn to, but the way in which he suggests to audience members what they might listen out for in performance and, how that suggestion, might actually influence the way in which someone listens. In all truth, this suggestion about listening for ambiguity in music (instead of the predictable) doesn't simply extend to his concerts, but perhaps to all listening to classical. And if more people bought into, what impact might it have on how we appreciate live performance in the moment?

  continue reading

450 episoade

Artwork
iconDistribuie
 
Manage episode 454675474 series 1934649
Content provided by Thoroughly Good Classical Music Podcast. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Thoroughly Good Classical Music Podcast or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://ro.player.fm/legal.

Pianist Tim Horton is a busy chap. Always playing the piano and playing it a lot. Wigmore Hall, Sheffield Chamber Music Festival, Ensemble 360. All manner of places. So I consider it a considerable triumph that we arranged to meet in person a week or so ago to talk about his Wigmore Hall Chopin project -- there's a concert on December 11 and one in March 2025. Its not simply the programme that I was drawn to, but the way in which he suggests to audience members what they might listen out for in performance and, how that suggestion, might actually influence the way in which someone listens. In all truth, this suggestion about listening for ambiguity in music (instead of the predictable) doesn't simply extend to his concerts, but perhaps to all listening to classical. And if more people bought into, what impact might it have on how we appreciate live performance in the moment?

  continue reading

450 episoade

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