Originally posted by Bryn
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The piano
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Originally posted by jayne lee wilson View PostI guess you found these in the end?
https://www.qobuz.com/gb-en/search?i...ann&qref=dac_1
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Originally posted by Roslynmuse View PostI just think the piano didn't do what Sibelius wanted it to do - it can't sustain in the way a low brass choir can, or crescendo on a single chord. One of the most ungrateful piano reductions of any concerto is the Sibelius Violin Concerto - it's almost impossible to make it sound effective, where other concertos can at least sound adequate with piano, even the Tchaikovsky, or the two Prokofievs. A lot of his song accompaniments feel as though they would be better with orchestra. There are some short pieces for violin and piano which are a bit more ...grateful... to play; but they aren't Sibelius at his best (and I'm writing as a great admirer of his music).
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Originally posted by vinteuil View Post... the first definition for 'grateful' in the OED -
"Pleasing to the mind or the senses, agreeable, acceptable, welcome"
( the second definition is "Of persons, their actions and attributes : Feeling gratitude; actuated by or manifesting gratitude; thankful" )
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Originally posted by gradus View PostYes but the second definition carries an earlier contextual use 1552 against 1553. Presumably dates don't count.
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Today someone sent me a new recording, Pierre Boulez playing his third sonata, a recording made on 19 July 1958 for RTF. It is amazing, Boulez could play piano and could play his own music with passion! I don't know if anyone here is in a position to make it happen, but if there ever was a piano recording that deserved to be commercially released, this is it.
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Some other piano music I've been listening to recently:
Scarlatti on early 18th century pianos (something that deserves to be heard more often), two CDs performed by Linda Nicholson (on Capriccio) and Aline Zylberajch (on Ambronay)
Shostakovich's 24 Preludes & Fugues op.87, by Vladimir Ashkenazy... my thought was that this music must have been enjoyable to write but I'm not sure about listening to it, particularly all in one go.
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I'm really enjoying this solo piano piece by Wieland Hoban. Has anyone explored other music by this composer? I'd like to hear more.
The comment he makes on that performance seems to me to give food for thought too, e.g.
During the last few years, I have reached the conclusion that for me, a solo performance is implicitly an act of theatre. While a greater number of performers on stage can more readily allow the music to be the sole focus of attention (though their interaction can also be seen as a form of theatre), the situation of a soloist on stage strikes me as that of a protagonist involved in a monologue. This monologue can conform to the expectations of the context by adopting the meta-personal style of the genre, where the artificiality of the circumstances is passed over. Or it can thematicise this. The latter option has been explored in depth by such composers as Schnebel, Kagel, Holliger or Globokar; my interest, however, is in a purely musical formulation of this ideal. How can the work develop and convey a consciousness of its own artificiality and erode this to acquire an autonomous expression? How can the tension between acceptance and rejection of expressive norms become productive in an aesthetic and semantic sense? These questions are at the heart of when the panting STARTS, and their urgency for me was heightened through the context of solo piano, that most established of genres with its roots – albeit not its earliest – firmly in the conventions of 19th century bourgeois society. If the piece can be said to have one overriding aesthetic aim, it is to transcend the negation of language – including its own – to reach a form of meta-language reconstructing the individual's search for meaning.
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Originally posted by Mandryka View Post
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Originally posted by Serial_Apologist View PostAs to the piece, I am hearing homage of sorts to the Barraqué Sonata.
Originally posted by Serial_Apologist View PostI think I know what he's talking about - or that he does. How for instance does anyone thematiicise circumstances - or does he mean their artificiality, whatever that means? Isn't it time for terminological inexactitudes of this kind, long the stuff of intellectual exclusiveness, to be questioned?
The meta-personal style of the genre would be something like what Beethoven does in a slow movement - he basically uses musical tricks to mesmerise the listener, lull the listener into believing a sort of expressive effusion, and make the listener forget for the movement that he’s in fact listening go a technician press keys on a piano. A Beethoven sonata is, in some sense, a lie - the performer is not in fact feeling what’s being expressed (thank God) and for all we know the composer wasn’t either. These ideas have been around since Brecht.
Some composers underline the artificiality of expression of performance by directing the musicians to do absurd and unexpected things. I’ve never actually seen a performance of, for example, Kagel’s Der Schall or Acoustica, but my guess is that that’s what he does. On the other hand I have seen Jennifer Walsh’s music in performance, and that’s what she does
support us on Patreon : : https://www.patreon.com/scorefollowerweb : : http://scorefollower.com/more info below ⤵Performed by Hidden Mother: Ulrik Nilsson, M...
And, to stick to the piano, I’d suggest that that’s what Stockhausen does in the wonderful Klavierstück 13
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(I’m listening to Kagel’s Der Schall as I type this - it’s just what the doctor ordered! There’s a wonderful moment when this crazy cuckoo starts to do its stuff. The guys at DG must have been on the acid when they decided to release this as an LP!)Last edited by Mandryka; 22-05-21, 12:18.
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Originally posted by Mandryka View PostI'm really enjoying this solo piano piece by Wieland Hoban. Has anyone explored other music by this composer? I'd like to hear more.
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