Originally posted by Acavus
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BaL 23.02.13 - Mozart's Divertimento for String Trio K563
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Thropplenoggin
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Originally posted by verismissimo View PostI think one problem is the use of the modern Steinway and equivalents, creating a totally different balance from the one that nineteenth century composers would have expected.
A couple of years ago I had the Adderbury Ensemble play the Dvorak quintet in our local church, using our restored 1870 Broadwood grand. Talking with the string players afterwards, one of them said that it was the first time he had ever heard himself in that piece...It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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What pleasure to get to get to grips again with this neglected masterpiece. The adagio second movement is as good as anything Mozart wrote IMO.
And Grumiaux's trio play it superbly, he with intensity and some touching portamento (though less than they would have used 100 years ago).
I'm going to start a Portamento Restoration Society.
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Originally posted by verismissimo View PostAnd Grumiaux's trio play it superbly, he with intensity and some touching portamento (though less than they would have used 100 years ago).
I'm going to start a Portamento Restoration Society.
Could one say that it’s ‘authentic’ in performances of works written between, say Beethoven and WWII? (I’m guessing about this, and would be interested to hear what experts on performance practice think.)
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Portamento, like Vibrato, needs to be used very carefully in a piece of Music; it fell out of favour precisely because so many lazy performers splattered it into their whole performances like ketchup on a van burger, rather than practising a range of different degrees of portamento, judiciously tailored to the expressive requirements of the Music at its different stages.
I hope that any future PRS would sek to promote selective use of these different types of portamento in mind, rather than simply "restoring" "one size fits all" bad habits.
It's very much a sliding scale.[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
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Thropplenoggin
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Originally posted by ferneyhoughgeliebte View Postvan Burger"...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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Originally posted by Eine Alpensinfonie View Post9.30am Building a Library
Misha Donat with a survey of recordings of Mozart's Divertimento for String Trio K563
Available versions:-
L'Archibudelli
Arnold-Schoenberg-Trio
Budapest String Quartet
Chilingirian Quartet
Cummings String Trio
Christoph Ehrenfellner (violin), Herbert Müller (viola) & Adalbert Skocic (cello)
Joseph Fuchs (violin); Lillian Fuchs (viola) & Tortelier (cello)
Heifetz, Primrose, Feuermann
Gaede Trio
Grumiaux Trio
The Hermitage String Trio: Boris Garlitsky (violin), Alexander Zemtsov (viola) & Leonid Gorokhov (cello)
Henning Kraggerud, Lasr Anders Tomter, Christoph Richter
The Pasquier Trio
Benjamin Schmidt, Antoine Tamesit, Jan Vogler
Trio Echnaton
Trio Fenix: Shirly Laub (violin), Tony Nys (viola) & Karel Steylaerts (cello)
Trio Zimmermann
Zilliacus Persson Raitinen
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Thropplenoggin
The Hermitage String Trio will have to work hard to pull this out the bag...I don't think they've even been mentioned yet.
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