BaL 1.01.22 - Mozart: Piano Concerto no 20 in D minor K466

[Barbirollians]

Van Immerseel is my current go to version but I would like to hear the Brautigan and other fortepiano versions. I also have Brendel/ Mackerras and Barenboim/ Berlin Phil (nla?) versions on modern piano, but I very much prefer period instruments in Mozart.

To each their own - I don’t - with exceptions . Brautigam is very fine but some of the other fortepiano recordings of these works have the knitting needle sound like Bilson/Gardiner.

[cloughie]

To each their own - I don’t - with exceptions . Brautigam is very fine but some of the other fortepiano recordings of these works have the knitting needle sound like Bilson/Gardiner.

Yes - whereas a pianoforte can be played piano a fortepiano struggles with the forte

[Bryn]

Yes - whereas a pianoforte can be played piano a fortepiano struggles with the forte

Indeed, and it was the latter which Mozart was familiar with, played and wrote for.

[jayne lee wilson]

To each their own - I don’t - with exceptions . Brautigam is very fine but some of the other fortepiano recordings of these works have the knitting needle sound like Bilson/Gardiner.

Well, not here it doesn't. Bilson's instrument is perfectly blended to the pitch and character of JEG's lithe, springy accompaniments. Neither Immerseel nor Sofronitsky would deserve that descriptive caricature either...and they all sound different from each other. Nor do they all necessarily use the same instruments throughout their cycles; Bilson's is fairly consistent, but Brautigam uses a variety of them, and Sofronitsky's often varies considerably in sound through her set.

Early pianos certainly don't struggle with forte passages in their own performance contexts. Often in far smaller halls then became the later convention. Just try Paschenko or Emelyanychev on their various instruments in Beethoven, Mendelssohn, or Brahms.
The point with concertos is to match the tonal and dynamic range, coloristic and tonal character of the period-instrument orchestra to the chosen keyboard and the given acoustic...

I could easily post a parodistic description of the Steinway D sound, but an 1875 Steinway model doesn't sound like a 1975 one, as the marvellous New Release of the Brahms Violin Sonatas with Pritchin & Emelyanychev shows...

https://www.qobuz.com/gb-en/album/brahms-sonatas-for-piano-and-violin-maxim-emelyanychev-aylen-pritchin/wy4wku9yta18a

[cloughie]

Indeed, and it was the latter which Mozart was familiar with, played and wrote for.

Aye, well, mm!

[Barbirollians]

Well, not here it doesn't. Bilson's instrument is perfectly blended to the pitch and character of JEG's lithe, springy accompaniments. Neither Immerseel nor Sofronitsky would deserve that descriptive caricature either...and they all sound different from each other. Nor do they all necessarily use the same instruments throughout their cycles; Bilson's is fairly consistent, but Brautigam uses a variety of them, and Sofronitsky's often varies considerably in sound through her set.

Early pianos certainly don't struggle with forte passages in their own performance contexts. Often in far smaller halls then became the later convention. Just try Paschenko or Emelyanychev on their various instruments in Beethoven, Mendelssohn, or Brahms.
The point with concertos is to match the tonal and dynamic range, coloristic and tonal character of the period-instrument orchestra to the chosen keyboard and the given acoustic...

I could easily post a parodistic description of the Steinway D sound, but an 1875 Steinway model doesn't sound like a 1975 one, as the marvellous New Release of the Brahms Violin Sonatas with Pritchin & Emelyanychev shows...
https://www.qobuz.com/gb-en/album/br.../wy4wku9yta18a

Ears are different Bilson’s recordings of the Mozart concertos I have heard - about six of them - put my teeth on edge

[jayne lee wilson]

“…this is a very fine disc, one that I have no hesitation over recommending strongly to those who like - and perhaps even more strongly to those who don't like - Mozart’s music as he intended it to to be heard.”

Stanley Sadie, Gramophone 1/88, on the Bilson/JEG Nos. 20 & 21.

[Barbirollians]

“…this is a very fine disc, one that I have no hesitation over recommending strongly to those who like - and perhaps even more strongly to those who don't like - Mozart’s music as he intended it to to be heard.”

Stanley Sadie, Gramophone 1/88, on the Bilson/JEG Nos. 20 & 21.

That’s no surprise to me - SS was a HIPP zealot .

[jayne lee wilson]

That’s no surprise to me - SS was a HIPP zealot .

"Zealot" does Sadie, one of the greatest of musicologists, editor of the New Grove and author of several highly-regarded books on classical composers, a disservice. There was far more to him than enthusiasm for, and keenly attentive and comparative listening to, period instruments and historically aware performances.

His writings whether for the Gramophone or elsewhere show a profoundly detailed, observant and insightful musical mind at work, above all a very balanced and highly intelligent view of the issues involved. His reviews of Mozart and many other composers are among the most closely heard, carefully considered, knowledgeable and well written ever to appear in Gramophone.

[Bryn]

"Zealot" does Sadie, one of the greatest of musicologists, editor of the New Grove and author of several highly-regarded books on classical composers, a disservice. There was far more to him than enthusiasm for, and keenly attentive and comparative listening to, period instruments and historically aware performances.

His writings whether for the Gramophone or elsewhere show a profoundly detailed, observant and insightful musical mind at work, above all a very balanced and highly intelligent view of the issues involved. His reviews of Mozart and many other composers are among the most closely heard, carefully considered, knowledgeable and well written ever to appear in Gramophone.

Well put. One has to bear in mind that, in this year of our Ford, there are some here who are more of the HIB persuasion.

[Barbirollians]

Well put. One has to bear in mind that, in this year of our Ford, there are some here who are more of the HIB persuasion.

I don’t doubt his achievements but he was very much a zealot for authentic instrument performances . Ears differ most late 18th century fortepianos in recordings sound brittle and inexpressive to my ears.Especially in the Mozart concerto recordings with Bilson and Gardiner.

[cloughie]

Well put. One has to bear in mind that, in this year of our Ford, there are some here who are more of the HIB persuasion.

Hey Barbs are you HIB - and if so, what does it mean?

[Barbirollians]

Heavens knows what it means .

[Bryn]

Heavens knows what it means .

Think "Ford", or Huxley if that helps.

[cloughie]

Think "Ford", or Huxley if that helps.

A long time since I read it!