Chopin Recordings

Started by George, April 06, 2007, 06:00:36 AM

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Novi

Quote from: Lilas Pastia on June 01, 2007, 04:14:05 PM
I listened to the Paderewski recording - twice.

Secondly, the most striking aspect of his playing is the incredibly heavy use of rubato.   I'm not a pianist, but what I hear is a systematic doubling of a note, being sounded on the left hand first, followed by the right hand, almost a 2-note arpeggio. If someone can come to my rescue and describe it adequately, I would appreciate.


I think you're referring to desynchronisation, when the right hand comes in just a fraction after the left? It was a common way of playing up until about the 30s, as you say.

I'm sure the piano experts will know a lot more about it though :).
Durch alle Töne tönet
Im bunten Erdentraum
Ein leiser Ton gezogen
Für den der heimlich lauschet.

sidoze

Quote from: Novitiate on June 01, 2007, 04:35:48 PM
I think you're referring to desynchronisation, when the right hand comes in just a fraction after the left? It was a common way of playing up until about the 30s, as you say.

Michelangeli and Bolet used this technique regularly. If memory serves, there's the famous example of Michelangeli using it for the slow movement of the Ravel PC. I think this technique works especially well in certain slow pieces by Chopin, and you can hear Bolet use it subtly to enhance the pathos of the Chopin 3rd sonata Largo (on Marston). He was also well-known for doubling bass notes, something he did in the final prelude of op. 28 (Carnegie Hall - GPOC). I've always liked this sort of personal license, especially for composers who wrote heart-on-sleeve music like Chopin and Schumann (that's how I hear it anyway). In fact I usually feel there's something lacking in the interpretation if a pianist doesn't personalise it in a manner like this.

Drasko



op.28 & op.62

Could be interesting

sidoze

thanks for posting it, I will definitely buy that (in October). I watched his Chopin recital on Youtube (after he won the competition) and he played some of the mazurkas beautifully.

Rather amusing it says "complete preludes" without op. 45

sidoze

how about this for novel Chopin: 51 mazurkas for solo guitar?  http://cdbaby.com/cd/stephenaron4

Lilas Pastia

Can't be worse (or better ::)) than Scarlatti sonatas on the accordion.

Holden

Quote from: Drasko on July 06, 2007, 07:48:42 AM


op.28 & op.62

It could also be very short. Most versions of the Op 28 Preludes range around the 45 minute mark. Add in Op 62 and you've still got about 25 minutes of CD left to fill. These would have to be exceptional for me to buy them.

Could be interesting
Cheers

Holden

orbital

Quote from: sidoze on July 06, 2007, 11:40:05 AM
how about this for novel Chopin: 51 mazurkas for solo guitar?  http://cdbaby.com/cd/stephenaron4
IT's out of stock ::)

I am not against these novelties as long as they are made in  good taste

Drasko

Quote from: orbital on July 06, 2007, 12:32:50 PM
IT's out of stock ::)

I am not against these novelties as long as they are made in  good taste

A least you can get Scarlatti on accordion until they re-stock Chopin on guitar

http://www.amazon.com/felice-Accordion-Music-Domenico-Scarlatti/dp/B0000525L7

orbital

Quote from: Drasko on July 06, 2007, 12:38:26 PM
A least you can get Scarlatti on accordion until they re-stock Chopin on guitar

http://www.amazon.com/felice-Accordion-Music-Domenico-Scarlatti/dp/B0000525L7
I have my eyes on this one:

Although an Equal Tempered Accordion may work wonders. Just listen to Edith

sidoze

rare chance to get Tipo's Chopin Nocturnes for a low price

http://preview.tinyurl.com/ysthhu

Lilas Pastia

I'd welcome comments on Krystian Zimerman's old DG disc of the 4 Ballades, Barcarolle and f minor Fantasy. Thanks! :)

Don

Quote from: Lilas Pastia on July 13, 2007, 12:09:30 PM
I'd welcome comments on Krystian Zimerman's old DG disc of the 4 Ballades, Barcarolle and f minor Fantasy. Thanks! :)

I'm only familiar with his Barcarolle performance.  Although lovingly shaped, I don't find it distinctive or particularly rapturous.  So, nothing special but the Ballades and Fantasy might be better.

Lilas Pastia

Thanks. I happen to find the Ballades and Barcarolle some of Chopin's most important compositions. I've heard the disc, but can't make up my mind about Ballades 1 and 2.

George

Quote from: Lilas Pastia on July 13, 2007, 05:29:45 PM
Thanks. I happen to find the Ballades and Barcarolle some of Chopin's most important compositions. I've heard the disc, but can't make up my mind about Ballades 1 and 2.

I agree.

There's things I like about it and things I don't.

(Ducks to the oncoming mudslingers) Perahia remains my favorite as a set.

Lilas Pastia

I don't know if it's Zimerman or the DG engineers, but the dynamic range is quite extreme. If the opening of Ballade 1 is to have any sense of presence in the room, you have to be prepared for the explosive fortes that follow. I'd be surprised if Chopin's beloved Pleyels and Erards had that kind of sound.

On that subject, here's an interesting article from Polish Music Newsletter.

rubio

I see that I don't have a set of the Scherzos yet, and I'm thinking about one of Rubinstein's set. So should I go for the 1932, 1949 or the 1959 set? This 1959 set looks mighty tempting:

"One good thing about music, when it hits- you feel no pain" Bob Marley

sidoze

no. get the Pogorelich rubio.

BorisG

I would reach for Pogo before Rube, but reach for Demidenko before either.

orbital

Quote from: rubio on July 15, 2007, 02:07:39 PM
I see that I don't have a set of the Scherzos yet, and I'm thinking about one of Rubinstein's set. So should I go for the 1932, 1949 or the 1959 set? This 1959 set looks mighty tempting:


between the 1932 and 1959, I'd say definitely 1939.
But I prefer Pogo as well.