BaL 29.01.22 - Rachmaninov: Piano Sonata no. 2 in B flat minor (Op. 36)

[pastoralguy]

There’s a lovely story that Horowitz’s Carnegie Hall debut found spending an hour with the stage hands pushing the piano around the stage until he found the exact point he wanted. After his rehearsal, the chief stage hand hammered three green headed nails into the spot Horowitz had specified.

A few weeks later, Horowitz again played in Carnegie Hall and went through the same routine. Up a bit, left a bit, down a bit and right a bit. He ended up EXACTLY the same point as the three green headed nails were placed!

After that, the stage hands couldn’t do enough for him!

[Braunschlag]

Yes from the Schoenberg bio I remember it wasn’t just the flat fingered technique that Keraulophone rightly mentions . He used got the techs to use low key weight which means less finger pressure and in theory quieter sounds. I also believe he was a keen hammer head lacquerer . The trouble for mere mortals is less tone and dynamic control - but not a problem for the master.
I can’t get the Kreisleriana out of my head. The greatest ever Schumann pianist ?

I think so. I came very late to Schumann and soon realised his piano music was very interesting - not really pianistic in a Chopin way, much more ‘musical’. If you look at his Toccata, particularly the last page or so, the notation is so complex, it almost makes no sense to what you hear.
Same goes for ‘Of Foreign Lands’ from Kinderszenen, a seemingly simple ABRSM piece set for beginner pianists but beset with real challenge in terms of voicing. But VH really knew what to bring out.

[Braunschlag]

Anyone know these?

https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODY1ODQ2NS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE1NjQ0OTUxOTd9

[Ein Heldenleben]

I think so. I came very late to Schumann and soon realised his piano music was very interesting - not really pianistic in a Chopin way, much more ‘musical’. If you look at his Toccata, particularly the last page or so, the notation is so complex, it almost makes no sense to what you hear.
Same goes for ‘Of Foreign Lands’ from Kinderszenen, a seemingly simple ABRSM piece set for beginner pianists but beset with real challenge in terms of voicing. But VH really knew what to bring out.

So much Schumann is rarely played on the concert platform like Waldscenen. Even Kreisleriana doesn’t get much of an outing these days. There’s some wonderful footage of Cortot talking some students through Der Dichter Spricht - another poet of the piano . They just don’t make them like that any more …

[Braunschlag]

Fantasiestucke- that old EMI/Ricordi/ Argerich recording- gosh, that was astonishing (I think it had the Fantasie as the main course). Traumes Wirren, blimey what a superbly played piece,
Fasschingswank aus Wien - another top drawer piece. Maybe it’s not the technical demands (although they are formidable in some cases), it seems so difficult to get to the heart of the music. Chopin Etudes seem a breeze in comparison ( but I’d not wish to dumb those down at all).

[gradus]

Adelina de Lara's biography is a good read and as a pupil of Clara's she has many insights into performing Robert's music as he wanted it performed. Her recordings were made very late and do not do her playing justice but are interesting and used to be available as part of a Pearl box of Clara's pupils on record.

[BBMmk2]

The review - Lugansky

The Twitter love in - dunno . Just don’t have the energy to even look at it.

One tip - the Kreisleriana on the Horowitz 1968 Carnegie recital is magnificent.Is he , as well being as the loudest (clangiest?) pianist in history, also the undisputed master of the pianissimo?

How he shapes phrases at that dynamic level is beyond comprehension. Is he breathing on the keys ?

He also does that soft playing in the Rachmaninov Lento as well as spectacularly breaking a string (low A ?)
What a pianist !

Ah, I’ll have to hear that!

[BBMmk2]

Where’s EA?

[Nick Armstrong]

I reckon there’s an edit in that Giltberg coda. Unlike the reviewers I don’t like the halting agogics . It’s sounds like he’s having to prepare and Boris G has the technique not to do that …
Lugansky it is .. that coda was absolutely amazing. The finger strength …strewth..

I understood that Giltburg plays the 1930s revision whereas Lugansky plays the original. The piano sound and recording on Lugansky’s seemed preferable to me, by some margin, as well as the performance.

[Ein Heldenleben]

I understood that Giltburg plays the 1930s revision whereas Lugansky plays the original. The piano sound and recording on Lugansky’s seemed preferable to me, by some margin, as well as the performance.

Yes all the Lugansky Rachmaninov I’ve heard seems exceptionally well recorded - so important in this repertoire . I thought the Giltburg was just too mannered .

[Goon525]

Thats a shame. Rather addicted to the term myself. I think I picked it up off of NYPD Blue...

****
[/I]

Let’s discuss the Sipowicz version of the Rachmaninov off-line.

[Eine Alpensinfonie]

Where’s EA?

Are you referring to East Anglia? Easily found in an atlas.
Or perhaps Elizabeth Alker? She may be found in the Salford or north-of-Manchester region.
Or possibly, you were referring to me? My location can be found on each and every post on this forum. I can be contacted by PM by any Full Member forumist

[BBMmk2]

Are you referring to East Anglia? Easily found in an atlas.
Or perhaps Elizabeth Alker? She may be found in the Salford or north-of-Manchester region.
Or possibly, you were referring to me? My location can be found on each and every post on this forum. I can be contacted by PM by any Full Member forumist

Lol! I’m missing your highlighted recordings that win the accolade!