It is, however, interesting that the playing of period pianos is not confined to a clique of HIP artists...such famous names as Schiff, Uchida, Shelley, Katin etc have all performed (and recorded) on them, believing that they have special qualities with something to say.
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Originally posted by Barbirollians View Post
With you too, on this one barbs!Don’t cry for me
I go where music was born
J S Bach 1685-1750Comment
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To be honest you're right because I don't listen to all the BaLs, so I can't know.Originally posted by Eine Alpensinfonie View Post
You must have been thrilled when you heard it, a world view justified
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Sorry Barbs but I did listen to this one and it clearly fell into the personal recommendation category, with considerable emphasis of the personal. If you listened to this hoping to hear Schneiderhan or Krebbers (two versions that i admire) then more fool you both.Originally posted by Barbirollians View Post
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Hasn't that fortepiano/modern grand issue been done to death now? Declare a truce please.
I'm interested in the comment that Richter plays the bass incorrectly (in bar 5 of the G flat major Impromptu) on his youtube version...to my ears it sounds like he plays what's in my copy. One story I've heard goes that Schubert made a later meant-to-be-more-accessible version in G major, and added this more interesting bass/harmony at that stage.
Pletnev, I believe, uses it twice in his recently released version, where, of course, he was just playing for his own pleasure and to try the instruments.
No doubt somebody here will be able to explain!Comment
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I've got that G major version of the G-flat impromptu. It is called the "Cotta" Edition (I don't know why). The story, as I have heard it, is this: the piece was originally published in G major to make it more marketable. Later editions then put it back to G-flat, as Schubert wrote it. But Liszt prepared an edition which kept the key as G major and this is called the Cotta edition. Furthermore, I believe that Liszt also added a few touches of his own here and there, so his edition is not exactly what Schubert wrote. (Listed as S.565b in Liszt's works). This could explain the Richter "wrong note", (which I am not familiar with). Anyway, you can find this edition here at imslp.Originally posted by silvestrione View PostComment
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I just checked this "Cotta" edition against the original - and yes, they are different! Different time signatures for one thing. Also, the bass line (bar five in original version; bar 10 in Cotta edition) has been quite obviously Lisztianised. In the original the bass notes stay the same (three lots of G-flat/D-flat), but in the "Cotta" we have two lots of G/D, followed by a very Lisztian F/D-sharp to lead us to octave E. Sounds a bit like liebestraum.......
Finallly, after a quick listen to Richter on youtube, I am pretty sure he is playing this Liszt edition.Last edited by waldo; 11-04-14, 18:35.Comment
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ams - it isn't a question of " more fool you " which is frankly somewhat rude . I don't necessarily read all the puff advertised about what sort of BAL this was . I heard it and it was plain it was supposedly meant to be of recents versions - why was not explained - for example we have recently had Beethoven 6 and 7 over the last couple of years and no such prohibitions were placed on that . Roy Goodman is a HIPP conductor indeed he conducted what was announced as the first performance of the concerto on period instruments ( albeit a performance at traditional tempos ) .Originally posted by amateur51 View PostSorry Barbs but I did listen to this one and it clearly fell into the personal recommendation category, with considerable emphasis of the personal. If you listened to this hoping to hear Schneiderhan or Krebbers (two versions that i admire) then more fool you both.
Thus there was an agenda behind that BAL . It should not have been described as a BAL in my opinion but as a personal recommendation from a particular perspective .Comment
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Ah, so my edition, which I've been playing all these years, has been 'doctored' by Liszt! Not acknowledged anywhere; an old Peters edition.Originally posted by waldo View Post
Disappointing though...I'm not sure I can start playing it without the F/D (natural, in the G flat version) without my ears rebelling!
(I'll be in good company though!
)
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Lupu by a short head from Perahia with the rest well beaten off by the sounds of it . I thought that the Perahia excerpts were constantly marvellous but no doubt as that is the recording from which I got to know the works over 25 years ago played a part in that . I was sure by the end of the BAL even before he announced the winner that I had to have the Lupu too -Magical .Comment
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A most interesting BaL with Radu Lupu coming out on top. One tiny niggle about this otherwise excellent reading was the apparent closeness of the recording which revealed the sound of the piano's mechanism - something you just don't hear in live recitals.Comment
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Robert Philip handled the programme with great deftness. I prefer the Perahia version - but he and Lupu are complementary.Originally posted by Eine Alpensinfonie View Post
In regard to EA's comment -
the piano's mechanism - something you just don't hear in live recitals
I wish that were true - I remember spending one interval under a grand piano fighting the constant chatter coming from its pedal mechanism - we did enough to encourage our temperamental soloist to appear for the second half.Comment
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Did I miss something, or were there absolutely no 'period' instruments featured at all...?
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Peter Katin's Clementi piano got a favourable mention, along with a short excerpt.Comment
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