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Most Helpful Customer Reviews
7 of 7 people found the following review helpful:
4.0 out of 5 stars
The Passacaglia on this album is incredible, especially on the Bosendorfer piano,
By
This review is from: Transformations (Audio CD)
I am giving this a recording a rating of four just on the strength of the Passacaglia And Fugue In C Minor, BWV 582 played on the Bosendofer piano. Oh my God... what an incredible tone and moving performance!
The rest of the album is good and I thing that Pratt is a solid performer. He has good interpretive powers and you can get this from listening to samples of his music above. I am looking forward to seeing other albums from this young artist. One minor criticism is that the Passacaglia had some weak areas toward the end. I think Pratt took a few more liberties than I would have liked. However, overall he did a splendid job adopting this piece to the piano.
8 of 11 people found the following review helpful:
5.0 out of 5 stars
maestro,
By A Customer
This review is from: Transformations (Audio CD)
Mr. Pratt's interpretation of Bach, Brahms and Mussorgsky is unparalleled. He is a master at what he does. Those who have not experienced his performing should, and those who have already, should again. The subtle and intimate way he performs delights the senses and moves the soul.
12 of 17 people found the following review helpful:
1.0 out of 5 stars
Pratt-falls,
By
This review is from: Transformations (Audio CD)
Oh, my! I heard, for the first time, without even knowing who was playing, this new Angel/EMI artist Awadagin Pratt. Seattle's KING.org had featured this disc during the waning hours of Labor Day holiday. I was relaxed and able to really listen, rather, than in my line of work as a radio program producer, catch a fast segment of a new release.Aside from the fact that it wasn't the Internet burping, for a change, but a choppy release, Pratt's perfomance of "Pictures" was heavy and ponderous. The "Ballet of the Unhatched Chicks" had the same pianist approach as "Promenade", and the other tableaux. "The Great Gate of Kiev" had the same flavor as "Bydlo" or "Limoges". Pratt filled this ingenius piece with cement-laden pounding, showing no difference between each segment. I am amazed to see such favorable fanfare over his recordings. When I compare him to Sergei Edelmann, Horowitz, Kissin, and Lorin Hollander (who played this work often in his solo recitals), and others, I am sorry to see such a new talent who has been highly praised by listeners and reviewers alike, release a new "Pictures" with so little attention to his pallette.
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