BaL 25.05.04 - JS Bach: Keyboard partitas, BVW 825–830
Collapse
X
-
Originally posted by silvestrione View Post
No one better in my view. There's the DG recording from yonks ago, but several more recent versions on youtube.
One could draw up a composite: Lipatti in first, Argerich in second, Gould in fourth, Piotyr A in 6...Perahia or Goode in the others?
Comment
-
-
Non-sporty person (live) summary:
Dinu Lipatti piano
Scott Ross on the harpsichord Allemande Partita 1 - "elegant, allows music to speak for itself; warmth".
Piano vs. Harpsichord Joanna MacGregor: "I love the harpsichord".
Vladimir Feltsman Nimbus 1999 Saraband Partita 1. "Mould & do marvellous things on the piano".
Rosalyn Tureck 1950s Gigue Partita 1 - "listen to her left hand", "I like the vintage recorded sound".
Glenn Gould Sinfonia Partita 2 1960s, "more intuitive player", "heavy staccato on left hand".
Angela Hewitt's 2nd recording - "different sound... and how stylish she is".
András Schiff earlier recording Capriccio of Partita 2 "such freedom and swing & a huge amount of decision making".
Zuzana Růžičková harpsichord Scherzo Partita 3, "teacher of Hogwood" "rather epic... huge sound".
Vladimir Feltsman Gigue Partita 3 "beautiful playing" "great momentum and rhythm"
András Schiff Overture Partita 4 "decorative, ornamental, light & sculpted - I really llike it"
Rosalyn Tureck Allemande Partita 4 "plays a piece of philosophy..." "Glenn Gould is a lot slower... almost in a heavy blues way"
Zuzana Růžičková harpsichord Gigue Partita 4 "retro"
Glenn Gould Gigue Partita 4 "...has got shape... really intelligent.. everyone dazzled by his touch & speed"
Dinu Lipatti out of running, others still in.
Vladimir Feltsman Prelude Partita 5 "brilliance & exuberance"
Scott Ross harpsichord Partita 6 "Wonderfull elegant and sincere playing".
Angela Hewitt "mighty fugue begins to start" after tocatta Partita 6 "intimate... darkness in how she shows the harmony"
Rosalyn Tureck Allemande Partita 6 "elegant.. subtle.. philosophical" "absolutely beautiful left hand".
Down to final three...
Glenn Gould Courante Partita 6 "Fantastic playing... jazzy quality.. .subtle"
Rosalyn Tureck above Glenn Gould.
On harpsichord, Scott Ross "pure & modern"; always go to Zuzana Růžičková for "fun & colour"
András Schiff Gigue Partita 6 "wit, generosity... warm".Last edited by AuntDaisy; 25-05-24, 14:49.
Comment
-
-
Originally posted by Pulcinella View PostJust dipped in for a couple of minutes (I keep thinking it starts at 4 not 3!) and twice heard: 'We haven't got time to....'
Maybe they should make the programme (or the BaL slot) longer?
Fat chance!
Comment
-
-
Originally posted by Pulcinella View PostJust dipped in for a couple of minutes (I keep thinking it starts at 4 not 3!) and twice heard: 'We haven't got time to....'
Maybe they should make the programme (or the BaL slot) longer?
Fat chance!Please make it longer & move back to the old time. I missed the first minute or so!
Comment
-
-
Originally posted by silvestrione View Post
No one better in my view. There's the DG recording from yonks ago, but several more recent versions on youtube.
One could draw up a composite: Lipatti in first, Argerich in second, Gould in fourth, Piotyr A in 6...Perahia or Goode in the others?
Comment
-
-
Originally posted by MickyD View PostHaven't caught up with this yet...thanks to Aunt Daisy for the summary. I really had hoped for more recent harpsichord versions to be considered, there are so many fine ones.
I really enjoyed that BAL and found it very interesting esp. Joanna MacGregor's insights on playing.
Bit disappointed that Trevor Pinnock wasn't in the running.
Comment
-
-
Originally posted by Lordgeous View Post
I've said that so many times on this forum! But a very good BAL I thought, and Schiff a worthy winner.
Comment
-
-
I'm not sure it would be possible to do full justice to both piano and harpsichord interpretations in a single programme of this length, and they aren't really directly comparable - you probably know you want one or the other before the discussion begins. This was very much a pianist's review, and was none the worse for that - if anything, it might have been better to cover just the piano versions this time, leaving room to consider recent recordings by Levit and Grosvenor as well as Perahia etc., and perhaps touch on one or two of the outstanding single work recordings by pianists who have not covered the whole set. But of course I'd also like to hear a companion programme from the early music perspective!
Comment
-
Comment