New Releases

Started by Brian, March 12, 2009, 12:26:29 PM

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Holden

Quote from: Brian on June 10, 2021, 02:01:20 PM
This is a reissue of the very first one, from the 1960s. I think he's up to four piano sonata cycles now, with two of the four from after 2000.

The first Barenboim cycle on EMI is the one out of the four that I would return to the most. It is an interesting cycle in that DB explores many new ideas outside of the big mainstream sonatas. If you want a great Appassionata, Op 109/110, Pathetique or Moonlight you're going to be disappointed. He tends to fall over in the later sonatas with one exception in my opinion. More about that later.

The early and some of the middle sonatas are really worth listening to and at the time they sounded very fresh. It was very evident that Barenboim wasn't prepared to rush any of these works and this is particularly evident in his handling of the slow movements as well as some of the first movements. I love his leisurely approach with the first movement of Op 28 - it just makes sense and he follows this with a well measured andante. Similarly his Op2/3 really shines in these areas.

Rather than go on and mention many other sonatas (Todd has covered these thoroughly) I'd like to highlight how Barenboim used a slower pace to create a great effect. The initial sonata that made me sit up and go 'wow' was the Waldstein. While the first movement didn't have all the drive that is necessary, the Introduzione led into a Rondo that is slower than normal but it works the way DB plays it. Sokolov does similar in his Paris live concert.

Op 111 is similar in approach and the only other pianist who I've heard do what Barenboim does with the Arietta is Arrau. Most pianists seem to want to get it over and done with asap but not those two. They linger lovingly over all the harmonic twists and turns and create what I would describe as an ethereal performance.

Barenboim developed some affectations in his next cycles that aren't there in the EMI/Warner cycle. A pity as he really understands LvB and if you've watched any of his master classes on YT you see that he really knows how to play Beethoven.
Cheers

Holden

jlopes

#11721


Both July.



Bach: Die Kunst der Fuge BWV 1080; Notenbüchlein für Anna Magdalena Bach (Auszüge); Jesus bleibet meine Freude BWV 147 (arrangiert von Myra Hess); Chaconne aus BWV 1004

Mozart: Variationen KV 265

JC Bach: Klaviersonate A-Dur op. 17 Nr. 5

CPE Bach: Rondo c-moll Wq. 59 Nr. 4 aus "Für Kenner und Liebhaber"

WF Bach: Polonaise e-moll F. 12 Nr. 8

October.

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

aligreto


Madiel

Ooh. I could be interested in an option for the Barber string quartet.
I am now working on a discography of the works of Vagn Holmboe. Please visit and also contribute!

Que


Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

Que

Quote from: Mandryka on June 13, 2021, 09:22:03 AM


I don't know the organist, but the record company and the organ  (and the composer) are definitely right!  :)

Brian


Mirror Image

Quote from: jlopes on June 12, 2021, 04:35:06 AM


Odd cover art. Something from George Inness or Frederic Edwin Church would've been more appropriate I think.


aukhawk

Quote from: Mirror Image on June 09, 2021, 01:22:53 PM
For those that missed Roth's Stravinsky the first-time around:


From what I've heard of this so far (track samples on Presto, a longer extract on Spotify) it is very good indeed.

Mirror Image

Quote from: aukhawk on June 14, 2021, 02:27:25 PM
From what I've heard of this so far (track samples on Presto, a longer extract on Spotify) it is very good indeed.

Excellent. I should revisit these recordings.

Roy Bland


Brian



Arthur Schoonderwoerd has really gone off his rocker now. He's tackling the Eroica with a string sextet - two violins, two violas, one cello, one bass - plus the full complement of winds and brass.

"Why not feature a line-up that follows exactly what we find in Beethoven's score? It calls for one first violin, one second violin, two violas, cello, bass, and the usual winds."

uhhhhhhhhh

amw

If he's not playing the piano I'll consider it.

staxomega

Quote from: jlopes on June 12, 2021, 04:35:06 AM


Bach: Die Kunst der Fuge BWV 1080; Notenbüchlein für Anna Magdalena Bach (Auszüge); Jesus bleibet meine Freude BWV 147 (arrangiert von Myra Hess); Chaconne aus BWV 1004

Did anyone see him play AoF live or are there any live recordings floating around? He was touring it quite a bit, I was tempted to travel out of my way to see it in Boston but it would have been too inconvenient.

staxomega

Quote from: Holden on June 03, 2021, 01:56:08 PM
Would like to hear the Fou T'Song

How does the Koroliov compare with Sergei Schepkin's recording. I like both of them in Bach. I have Koroliov playing the two and three part inventions and it's a wonderful disc.

I have not heard Sergei Schepkin in the Partitas.

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

staxomega

Quote from: jlopes on June 17, 2021, 05:06:41 PM
There is a bootleg here: https://www.youtube.com/watch?v=XJiitIQ2drI

Not a very good sound, but it is there. I've read some critics last year and was disappointed that he didn't play the canons. But it seems that the canons are included on the recording, at least according to the tracklist posted here: https://www.bol.com/nl/p/bach-the-art-of-life/9300000040440050/

And he completed the last fugue.

Thanks, this is about how I imagined, wide dynamic range, lots of bass, some accelerandos that don't sound out of place but IMHO unnecessary. Overall quite stern.

Brian

Of interest to me and maybe two other people in the Fukuma Cult:



Bechstein