Morning Pro Musica; Tatiana Yampolsky

Tanya Tatyana that is Welcome back to morning from was a thank you. You have performed here a couple of times before. One of them in January of 1970. That must have been not long after you came to this country is that right. Yes. Yes but then again not so long ago just in November last. It sounds like that was a very interesting performance I missed that one. Well welcome once again. When was it you came to this country 76 is that right. Soon to be 73. Now if you found it establishing a career in this country after being so successful in your home country. I was wearing the old beat you get south and then in business didn't you. They were very happy here because I'm more free and there I can find more in music than in Soviet Union because of freedom. It's good you're teaching these days at Harvard or in association with Harvard right. Yes I ceased to

exist it was scary so I have private students at Harvard University and also invited me invited me last year lunches school probably to find you under school. Indeed. Well this morning we have quite a bit of music to here so why don't we turn to that. You were first going to hear a set of Scarlatti sonatas. Always wondered in the case of Scarlatti How do you ever go about choosing from those vast that vast number of sonatas ones to perform. Is it guesswork or. I like how do you tell sadness in music style if it helps. OK well you're going to play three of the Scarlatti Sonata for us this morning one in B minor one in D minor and finally one in C major. When we do that now three Sonata something the medical Scarlatti.

A. It was quite a lightning bolt interpretation. That last one to

our guest this morning has just performed three of the sonatas of the medical Scarlatti first one in B minor catalogue along with 33 the second in D minor. Passed around long before 13 in that final brilliant one Sonata in C major has long a 1 0 4 which is not set. It's not sad yes indeed the first two did have their tinge of sadness. Even the pastoral Somehow I think the pastoralists generally are lighter but that one is a very somber one. Yeah yes I do play the harpsichord you know every time I listen to Scarlatti on the piano I feel that he must have had an amazing premonition of the piano it seems so pianistic it works. Yes I know I can count it. You can start a great argument with the purists who believe that harpsichord music should be played at the harpsichord but you know with Bach I get the feeling that I get more of a harpsichord feeling with Scarlatti there is just that. Yeah the dynamic quality

that is so enhanced by piano performance. Yes it's interesting to find so many details of a piano. You have next and work on Beethoven you're going to play for us. The minor Sonata This is another rather a stormy one indeed the one that is known as The Tempest for better or worse do you think it's better or worse that it's known as the tempest. But there is a better or worse the tempest idea which wasn't Beethoven's right. So I love what they are you know and they play you feel it you feel the tempest. Yes in the first movement right. Yes. Why did you perform that force in the D minor Sonata is the second. Once on the set of three so not as Opus 31 the Beatles leading from 18 0 to end it has become known as the tempest. You are an.

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Oh. Well we have both Tempest and sadness in that one don't we get a good

deal of the melancholy Beethoven now and there is quite a tempestuous feel to the last movement as well as the first of many. Today yes today you can compress to us today. Two things I noticed. When the first movement that very melancholy speaking of melancholy rest the rest of the TV section. Yes you are very brave you take Beethoven's indication to keep the pedal down through that very literally. Many people explain it away as they don't damper pedal is not as good as ours and he would have done that if he'd been playing the modern piano but yes and I know I can use the place hot pedal like they clean the pedal and we just I don't understand. But it seems doesn't seem out of character for Beethoven to have given us all of that dissonance in one pedal is it all right. And the second movement has that wonderful a timpani sound but not him. Yes sounds like a drum and symphony drum. Yes.

Yes it often feels like Beethoven is trying to imitate orchestral into instruments you think it's very nice on the back a team is going. Yes. Yeah I like it. You familiar with the you're certainly familiar with the other two so not as of about 31. Yes. They're hardly seems to be any three senators that are more different than one another than those three up there come as a group. Yes I think they're very difficult yes and very unlike one of the maybe seems simple but in that simply 60s it's hard the first of those sent out as a very favorite of mine I call it the hick ups or not it hasn't been a bump bump or they don't and it's making the pianist break hands as we said it's supposed to be a great sin amongst pianists to break hands but Beethoven requires it and that's in the act. You're giving a performance tomorrow at Boston University. Right. Of the trio. When will that be.

What time do beginning at 8:00 o'clock back. Do you think it's it's the and the and the end of the concert. Probably. Thank you Eddie. What a crock of Boston University. But first the list. Now this is something rather different in character than we've had in the very dramatic. Mr. WELTS. On. Oh.

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Tatyana Do you ever get the feeling that the list was unfair to mortal

pianists not being one himself he didn't have to. I don't think about the limitations of the piano. If you could do it he could do it. Yes yes well I could and I'm glad you did this morning. The Mr. WELTS friends list you Mr. Watts Number one I believe as performed by our guest. A little earlier I mentioned that one often hears instruments of the orchestra in Beethoven and Liszt I get the opposite feeling even such a work as this waltz in its orchestral version gives me the feeling of the piano because list was primarily a pianist. It's not true. Yes I think I often feel like I'm listening to the piano even when it's orchestrated. Yes yes. And speaking of composers who are pianists who are going to wind up this morning with music of Chopin we have just a minute so we can hear this a Minute Waltz right Justin. It's not really a minute well to see Opus 64 number one well social band again our

guest again that Channing impulse. I was just joking we had more than a minute but it was very nice. No one by the way

with the exception of Barbra Streisand has ever been able to do it in a minute. Thankfully having within a minute. Well I don't count. I think I'm longer yes. Yes. Tatyana young Polski our guest Thanks for being with us this morning. Thank you and good luck in the future. Thank you. This morning's performance live on promise it was produced by Leslie workshop and producer and director. Our engineer Perry Carter. And we had production assistance from Marcel Robinson. Laura Stein Alice Abraham. Tomorrow is Wednesday and we'll be back with you Robert James away for a month. Hi Richard nicely put the wreath with you most of the time. And coming up. Tomorrow morning on a Wednesday morning program music of Haydn Mozart Corelli Vivaldi Handel often Bach. Quickly on no end of the year highlights from a masked ball by Giuseppe Verdi. My morning. I hope you will be with me. This morning and each and every morning made possible in part by a grant from Talbot's and a grant from banks

and buy have a lock. I do hope that you have a very fine Tuesday afternoon and I thank you for listening. This is the Public Radio Network.