BaL 28.10.23 - Schubert Four Impromptus Op.142 (D935)

[smittims]

I think the content of his latest music shows that he welcomed the changes in the design and structure of the instrument , particularly its dynamic range , e.g.the famous middle section in the slow movement of the A major sonata, D959. I don't think he'd have regarded a 20th-century Steinway as a monstrosity.

[Bryn]

I think the content of his latest music shows that he welcomed the changes in the design and structure of the instrument , particularly its dynamic range , e.g.the famous middle section in the slow movement of the A major sonata, D959. I don't think he'd have regarded a 20th-century Steinway as a monstrosity.

Maybe, but he was no position to write for a modern Steinway's playing or timbral characteristics

[RichardB]

a modern Steinway

The Model D was introduced in 1884, so it isn't so very "modern" anyway! But actually the passage mentioned in the A major Sonata seems to me something which absolutely sounds more expressive, turbulent and powerful as a musical gesture on an early 18th century piano (more powerful, not more loud!).

[gradus]

Steinway ... other brands are available and they don't all sound the same.

[Ein Heldenleben]

The Model D was introduced in 1884, so it isn't so very "modern" anyway! But actually the passage mentioned in the A major Sonata seems to me something which absolutely sounds more expressive, turbulent and powerful as a musical gesture on an early 18th century piano (more powerful, not more loud!).

If you can find an early “18th century piano “ I would be very interested in hearing it !

[RichardB]

If you can find an early “18th century piano “ I would be very interested in hearing it !

Although as it happens there are several surviving Cristofori pianos from the 1720s, and his first ones date from the first decade of the century, so there. If you want to hear what they sounded like, you can - there's a CD of Scarlatti sonatas played by Linda Nicholson on a copy of an early Cristofori, which I listen to often.

[Mandryka]

If you can find an early “18th century piano “ I would be very interested in hearing it !

Aline Zylberajch‘s Scarlatti (rather good performances I think) uses a Cristofori, not sure of the year of the piano.

Toby Sermeus’s Bach uses a 1749 Silbermann

Kieth Hill’s WC Bach Polonaises has this comment in the booklet (it’s a wonderful recording IMO)


For this recording I have used a reconstruction of a Florentine fortepiano c.1720 in the manner of Bartolomeo Cristofori, made by Keith Hill (Manchester, Michigan, USA, 1999). The inventor of the piano action, Cristofori also solved, over the period of at least a quarter century, the essential problems of tuning stability inherent in a mechanism in which the string is struck rather than plucked. His ideas were early on exported to Germany, but not in the form of actual instruments. Rather, German instrument-makers had to make do with a published description and a diagram of the action. Thus, the German fortepiano built by Silbermann and others solved the stability problems quite differently, issuing in a complex evolutionary process that, over many decades, ultimately resulted in the development of what we now know as the 'Steinway' grand piano. Remarkably, Cristofori anticipated many of the solutions which were finally adopted in modern grand piano design. I chose to use a Cristofori model because I prize the delightfully flexible sound of the brass strings found throughout the instrument, following the Italian tradition of harpsichord stringing (North European makers used iron from the tenor upwards). The "bloom" of the brass strings very efficiently supports the empfindsam gestures in the musical idea.

[Bryn]

Although as it happens there are several surviving Cristofori pianos from the 1720s, and his first ones date from the first decade of the century, so there. If you want to hear what they sounded like, you can - there's a CD of Scarlatti sonatas played by Linda Nicholson on a copy of an early Cristofori, which I listen to often.

That's true, but admit it, you got your century naming mixed up. Having mentioned 1884, you mistakenly typed early 18th Century when you were trying to refer to the early 19th.

[RichardB]

That's true, but admit it, you got your century naming mixed up. Having mentioned 1884, you mistakenly typed early 18th Century when you were trying to refer to the early 19th.

I did, hence the embarrassed emoji. Here's another one just for you

Aline Zylberajch doesn't use a Cristofori on her Scarlatti disc, since none are in playing condition, but a modern copy of one by Denzil Wraight (as does Linda Nicholson).

[MickyD]

Continuing the period piano theme, there's also a rather nice Virgin Veritas twofer with Lambert Orkis featuring these works and the Moments Musicaux.

[Barbirollians]

Perahia , E.Fischer , A.Fischer, Brendel ( digital recording) and Pires for me .

[Mandryka]

One thing which is interesting in this discussion is the complete absence of Schnabel.

[smittims]

I must admit I forgot to mention Schnabel in my first post. I suppose he played both sets of Impromptus over many years but recorded them only in his very last sessions, made on tape and issued on LP. It'll be interesting to see if he is mentioned in the review.

I've noticed how Murray Perahia evokes diverse responses in listeners. Judging by the extent of his discography he's clearly very highly regarded, but to me he's just another pianist: nothing wrong with him, he can play the piano all right, but I just don't hear anything outstanding interpretatively.

[Mandryka]

My view is that Perahia’s very earliest recordings are outstanding, when he was a hippy. Schumann DBT for example. He then became magisterial and the recordings became exactly that. Personally, I don’t want to hear magisters. I’m not at school.

And then there’s the paper cut incident and its repercussions. He plays sometimes as if he’s scared of hurting his fingers.

(Sorry, I’ve drunk too much wine with lunch - it’s brought the bitch out! )

[gurnemanz]

I must admit I forgot to mention Schnabel in my first post. I suppose he played both sets of Impromptus over many years but recorded them only in his very last sessions, made on tape and issued on LP. It'll be interesting to see if he is mentioned in the review.

He recorded D899 Impromptus for RCA in 1942 but they were not issued until 2017. His son Karl Ulrich Schnabel thought them superior to the 1950 HMV readings.

https://www.prestomusic.com/classical/products/8287017--artur-schnabel-the-rca-victor-recordings