Author Topic: The Romantics in Period Performances  (Read 172386 times)

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Online Mandryka

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Re: The Romantics in Period Performances
« Reply #660 on: August 01, 2019, 06:34:04 AM »
Is this true?

Quote

On the earliest
recordings this means that the performers do not
play together in an exact manner. That was certainly
part of the idea: a free and easy association with
tempo and notation was self-evident – anyone who
was incapable of doing this just wasn’t a proper musician!
Wovon man nicht sprechen kann, darüber muss man schweigen

Offline Florestan

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Re: The Romantics in Period Performances
« Reply #661 on: August 01, 2019, 09:34:19 AM »
Is this true?

What's the context of this quote? Who said that and referring to what?
I compose music because I must give expression to my feelings, just as I talk because I must give utterance to my thoughts. --- Rachmaninoff

Online Mandryka

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Re: The Romantics in Period Performances
« Reply #662 on: August 01, 2019, 10:36:50 AM »
What's the context of this quote? Who said that and referring to what?

It's from Leila Schayegh's essay on interpreting the Brahms sonatas in the release we were discussing, it's taken from the bigger quote I posted.
Wovon man nicht sprechen kann, darüber muss man schweigen

Offline Florestan

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Re: The Romantics in Period Performances
« Reply #663 on: August 01, 2019, 10:38:16 AM »
It's from Leila Schayegh's essay on interpreting the Brahms sonatas in the release we were discussing, it's taken from the bigger quote I posted.

Thanks. Will read that longer quote asap and comment upon it.
I compose music because I must give expression to my feelings, just as I talk because I must give utterance to my thoughts. --- Rachmaninoff

Online Mandryka

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Re: The Romantics in Period Performances
« Reply #664 on: August 01, 2019, 10:30:38 PM »
Another challenging comment from Schehnegh, this time about portamento

 
Quote
We modern violinists attempt to change posi- tion as discretely as possible because we feel the sounds of sliding to be too affected, too Romantic. And there’s the problem: portamento is Romantic and forms part of the expressive repertoire of this era. If one is going to take ownership of the violinist tech- nique of the period, one has no alternative than to make the change of position discernible. Indeed, the bow must be held in a position that alters neither the pressure nor the speed through a slur. At the same time, one must let the fingers of the left hand rest as much as possible on the strings being played, even when changing position. The combination of con- stant bow contact in the right hand and finger pres- sure from the left necessarily entails a portamento, no margin being left for concealing what is thought to be undesirable.
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Offline milk

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Re: The Romantics in Period Performances
« Reply #665 on: August 25, 2019, 02:21:59 AM »

I can't tell what's going on in this recording (on period instruments). Maybe I'm in a bad mood. This is recorded badly: too much reverberation or maybe they recorded this in a subway station. But it inspired me to go back and enjoy two period recordings of the cello works: Sergei Istomin and Viviana Sofronitsky's and Christian Poltera and Ronald Brautigam's. The Poltera/Brautigam is perhaps the more inspired. 
« Last Edit: August 25, 2019, 02:25:53 AM by milk »

Online Mandryka

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Re: The Romantics in Period Performances
« Reply #666 on: September 13, 2019, 05:44:01 AM »


Noone can say whether you'll like the voice or not, but the performance seems sufficiently original in the current context that it's well worth a listen I'd say.
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Offline milk

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Re: The Romantics in Period Performances
« Reply #667 on: September 16, 2019, 04:18:18 AM »


Noone can say whether you'll like the voice or not, but the performance seems sufficiently original in the current context that it's well worth a listen I'd say.
I should give that another listen. BTW: Is Brautigam the only one who recorded the complete "Songs Without Words" on period instruments?