Paul Badura-Skoda: 6 October 1927 - 25 September 2019

[Florestan]

RIP. A great loss --- although, at 91, not completely unexpected.

I'm not quite keen on fortepianos but this is very good. First, the musicianship and music-making is something else. Second, the instrument's sound, though quaint, makes listening to two of my favorite Beethoven sonatas ---- Pastoral and The Tempest --- a most satisfying experience. I wouldn't be surprised if any time soon I'll be listening to the whole cycle from the first disc to the last.

[Gurn Blanston]

RIP. A great loss --- although, at 91, not completely unexpected.

I'm not quite keen on fortepianos but this is very good. First, the musicianship and music-making is something else. Second, the instrument's sound, though quaint, makes listening to two of my favorite Beethoven sonatas ---- Pastoral and The Tempest --- a most satisfying experience. I wouldn't be surprised if any time soon I'll be listening to the whole cycle from the first disc to the last.

Just last week I encouraged a friend elsewhere to try some of that set (he got the LP's!) and since his taste was much like yours, I was rather gratified at his wild enthusiasm. He told me the Hammerklavier was like hearing it for the first time. I don't know, that has been 90% of my Beethoven keyboard listening for over 15 years now, so it just sounds normal to me. If normal means 'the way I expect it to sound'.

[Florestan]

Just last week I encouraged a friend elsewhere to try some of that set (he got the LP's!) and since his taste was much like yours, I was rather gratified at his wild enthusiasm. He told me the Hammerklavier was like hearing it for the first time. I don't know, that has been 90% of my Beethoven keyboard listening for over 15 years now, so it just sounds normal to me. If normal means 'the way I expect it to sound'.

I know what I'll be listening to tonight (among others). Thanks fo the tip, will report.

[Daverz]

I've only seen this streaming or for download.  These are mostly trio recordings with Antonio Janigro and Jean Fournier and duos with Demus from the 50s.  The mono sounds is very vibrant, and I can put away the various amateur rips the I've collected over the years.

https://www.prestomusic.com/classical/products/8366527--the-paul-badura-skoda-edition-chamber-recordings

[Mookalafalas]

One of my favorite pianists, and one of my favorite people in the classical world. Like Yehudi Menuhin, he just always seemed like a radiantly good-hearted person. Still, 91 is a good age. Perhaps I will binge later--his Schubert, LvB, Haydn, and WAM are all among the very, very best.

[Florestan]

I know what I'll be listening to tonight (among others). Thanks fo the tip, will report.

Ummmm, no. The playing is still outsanding but it's ruined by the instrument's sound: weak and unpleasant. The Caspar Schmidt fortepiano in the Pastoral was much better. Sorry, I really wanted to like it, but I didn't.

[Mandryka]

Ummmm, no. The playing is still outsanding but it's ruined by the instrument's sound: . . .

I wonder why he chose that piano.

[Gurn Blanston]

Ummmm, no. The playing is still outsanding but it's ruined by the instrument's sound: weak and unpleasant. The Caspar Schmidt fortepiano in the Pastoral was much better. Sorry, I really wanted to like it, but I didn't.

[Florestan]

I wonder why he chose that piano.

So you agree about the bad sound?

Whatever the reason, it was a very poor choice imo.

Speaking of Hammerklavier, my current favorite is this:

[Mandryka]

So you agree about the bad sound?

Whatever the reason, it was a very poor choice imo.

Speaking of Hammerklavier, my current favorite is this:

What I noticed was that the timbre of the bass registers contrasted interestingly with the timbres of the upper registers, and that asperity in the sound made me prick up my ears in some of the first movement, about 6 minutes in.

[Florestan]

What I noticed was that the timbre of the bass registers contrasted interestingly with the timbres of the upper registers, and that asperity in the sound made me prick up my ears in some of the first movement, about 6 minutes in.

Oh, then I got you all wrong! You seem to like it, while I dislike it. 

Now that I think of it, it's only too frequently that we hear of Beethoven being ahead of his time. But why should this be true only in terms of the music itself? As far as I'm concerned, it's at least equally true in terms of the sound itself --- those wretched fortepianos, bar very few exceptions, can't hold a candle to a Steinway or a Boesendorfer or a Fazioli.

[Gurn Blanston]

Oh, then I got you all wrong! You seem to like it, while I dislike it. 

Now that I think of it, it's only too frequently that we hear of Beethoven being ahead of his time. But why should this be true only in terms of the music itself? As far as I'm concerned, it's at least equally true in terms of the sound itself --- those wretched fortepianos, bar very few exceptions, can't hold a candle to a Steinway or a Boesendorfer or a Fazioli.

[Florestan]

Should I take that as an oblique agreement?

[Mandryka]

Oh, then I got you all wrong! You seem to like it, while I dislike it. 

.

I'm just trying to make sense of it rather than judge it.

[Mandryka]

Now that I think of it, it's only too frequently that we hear of Beethoven being ahead of his time. .

No. According to John Cage, Beethoven was wrong.

[Florestan]

I'm just trying to make sense of it rather than judge it.

Okay. Have you made sense past about 6 minutes in?

[Florestan]

No. According to John Cage, Beethoven was wrong.

John who?

[Mandryka]

With Beethoven the parts of a composition were defined by means of harmony. With Satie [...] they were defined by means of time-lengths. The question of structure is so basic, and it is so important to be in agreement about it, that we must now ask: Was Beethoven right or [...] Satie? I answer immediately and unequivocally, Beethoven was in error, and his influence, which has been extensive as it is lamentable, has been deadening to the art of music."

[Florestan]

With Beethoven the parts of a composition were defined by means of harmony. With Satie [...] they were defined by means of time-lengths. The question of structure is so basic, and it is so important to be in agreement about it, that we must now ask: Was Beethoven right or [...] Satie? I answer immediately and unequivocally, Beethoven was in error, and his influence, which has been extensive as it is lamentable, has been deadening to the art of music."

Rubbish. Manure. Two centuries from now on, Beethoven will still be played and revered, while John Cage will be a mere footnote of interest to pedantic cacademics, if at all.

[prémont]

Rubbish. Manure. Two centuries from now on, Beethoven will still be played and revered, while John Cage will be a mere footnote of interest to pedantic cacademics, if at all.

Well put.