Topic: Bach on the piano

[Mandryka]

Attention everyone, something interesting’s going on in this one. The counterpoint is almost non-chordal.  The tempos and the approach to pulse makes me think of Chorzempa. At times reflective, introspective. Focussing on 883 and 884.

[milk]

Attention everyone, something interesting’s going on in this one. The counterpoint is almost non-chordal.  The tempos and the approach to pulse makes me think of Chorzempa. At times reflective, introspective. Focussing on 883 and 884.

Yes thanks. It’s worth it to spend a lot of time with these. It’s serious and mature music-making. I’d like to compare this to Demus.
ETA: I would offer the E flat major and D sharp minor sets as good examples of Hill's soft unassuming sensibility. Here has a very light touch and minimal agocics. The E flat fugue, I think, as well as the D sharp minor prelude and fugue can be played sinisterly or ominously. But there's no portent in Hill's rendering; his music is more like whispering in the night. The more I listen to Hill the more I like it.

[Mandryka]

I think it was released a couple of months ago but it has only just found its way streaming. The thing opens with the G major partita  - I don’t have access to a booklet so I can’t say anything about how Sermeus arrived at the performance, which is certainly embellished without being particularly rich in terms of affekts. Sermius is certainly aware of the counterpoint and that aspect comes across well in the Sarabande. There are piano techniques I’ve never heard before. Something I found on line said that he’s been studying baroque piano specifically for 4 years - I’d say that study has got results.


It’s interesting to compare this with the only other old piano performance I have - Genzoh Takehisa. I believe that Sermius is superior in every way - especially from the point of view of naturalness, Sermius’s interventions seem to flow with, rather than against, the music.

Anyway, I’m looking forward to hearing the rest of this interesting release. Important release in a way.

[milk]

I think it was released a couple of months ago but it has only just found its way streaming. The thing opens with the G major partita  - I don’t have access to a booklet so I can’t say anything about how Sermeus arrived at the performance, which is certainly embellished without being particularly rich in terms of affekts. Sermius is certainly aware of the counterpoint and that aspect comes across well in the Sarabande. There are piano techniques I’ve never heard before. Something I found on line said that he’s been studying baroque piano specifically for 4 years - I’d say that study has got results.


It’s interesting to compare this with the only other old piano performance I have - Genzoh Takehisa. I believe that Sermius is superior in every way - especially from the point of view of naturalness, Sermius’s interventions seem to flow with, rather than against, the music.

Anyway, I’m looking forward to hearing the rest of this interesting release. Important release in a way.

Wow! Well I’ll have to listen today. Takehisa is entertaining but I don’t return to it much perhaps because of something you hint at. He’s very creative but I don’t fully connect. Also, Takehisa’s presentation on his recordings (his alternative way of organizing the preludes and fugues) annoys me.
I’m looking forward to this. BTW: I’ve been spending a lot of time with Peter Hill. I think Hill’s soft approach might not appeal to some people but I like it. Today I listened to other new ones on piano: Rangel (WTC bk 2) and Marcel Worms (WTC 2). Both are jarring next to Hill. I feel like I should give more time to Rangel but Worms plays a strangely ugly-sounding piano. Piano is a percussion instrument but percussive playing tends to give me a headache.

[Mandryka]

Just as an example of agreeable music, sweet and relaxing and engaging piano, modest and unimposing,  I think this is a delightful example. It was enthusiastically recommended to me by a pianist years ago and I can see why.

[(: premont :)]

Just as an example of agreeable music, sweet and relaxing and engaging piano, modest and unimposing.

Precisely, but toothless in the long run. I miss some balls.

This has nothing to do with that the pianist is a woman. Some male pianists play equally sweet and harmless.

[Mandryka]

Precisely, but toothless in the long run. I miss some balls.

This has nothing to do with that the pianist is a woman. Some male pianists play equally sweet and harmless.

Yes, but you know, it’s hot, it’s summer, I’ve drunk half a bottle of Chardonnay, these are relatively minor pieces - a recording like this has its uses. Once a decade maybe.

[(: premont :)]

Yes, but you know, it’s hot, it’s summer, I’ve drunk half a bottle of Chardonnay, these are relatively minor pieces - a recording like this has its uses. Once a decade maybe.

Probably I'm somewhat more earth-bound than you, because there is no need for background music in my book. If I'm not listening concentrated to music (and I wouldn't be able to do this after ½ bottle Chardonnay) I prefer the silence. In our society we are surrounded by noise all the time, so silence feels often beneficial if it can be obtained at all.

[Mandryka]

Probably I'm somewhat more earth-bound than you, because there is no need for background music in my book. If I'm not listening concentrated to music (and I wouldn't be able to do this after ½ bottle Chardonnay) I prefer the silence. In our society we are surrounded by noise all the time, so silence feels often beneficial if it can be obtained at all.

It can’t be obtained.

[(: premont :)]

It can’t be obtained.

This is in principle true. But these are sounds which have followed us during our entire life, and most of us - me included - have learned to ignore them most of the time thereby imagining silence instead.

[Dry Brett Kavanaugh]

Precisely, but toothless in the long run. I miss some balls.

This has nothing to do with that the pianist is a woman. Some male pianists play equally sweet and harmless.

I had the same impression.

[Jo498]

This has nothing to do with that the pianist is a woman. Some male pianists play equally sweet and harmless.

And some women play like Argerich or Annie Fischer when nobody would suspect a woman because of the playing style...

[Mandryka]

And some women play like Argerich or Annie Fischer when nobody would suspect a woman because of the playing style...

https://m.youtube.com/watch?v=LS37SNYjg8w

<a href="https://www.youtube.com/v/LS37SNYjg8w" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/LS37SNYjg8w</a>

[Florestan]

Yes, but you know, it’s hot, it’s summer, I’ve drunk half a bottle of Chardonnay, these are relatively minor pieces - a recording like this has its uses. Once a decade maybe.

You drink Chardonnay once in a decade? 

[Florestan]

Probably I'm somewhat more earth-bound than you, because there is no need for background music in my book. If I'm not listening concentrated to music (and I wouldn't be able to do this after ½ bottle Chardonnay) I prefer the silence. In our society we are surrounded by noise all the time, so silence feels often beneficial if it can be obtained at all.

I'm the exact opposite. For me listening in the background is a very rewarding experience. I've even coined a term for the whole concept, "unattentive listening". 

[milk]

I'm the exact opposite. For me listening in the background is a very rewarding experience. I've even coined a term for the whole concept, "unattentive listening". 

I liked Eno’s idea of ambient music: music made just to exist like carpet. It’s not usually Bach. Satie is like this sometimes. But not much else.

[Florestan]

I liked Eno’s idea of ambient music: music made just to exist like carpet.

That's not what I mean by "unattentive listening". What I mean is, you listen while reading, writing or simply sitting in the armchair, a glass of drink in hand, your mind wandering. if the music is interesting enough, one moment you'll be struck by a chord, a melody or a harmonic twist and begin listening more attentively. You may end up completely absorbed in the music, or you may revert to "unattentive listening". Either way, it's a most interesting experience.

[Mandryka]

It’s not usually Bach.

[DavidW]

I'm the exact opposite. For me listening in the background is a very rewarding experience. I've even coined a term for the whole concept, "unattentive listening". 

Satie would be pleased!

[milk]

Strangely, I cannot find an image of Schaghajegh Nosrati‘s new Well Tempered Clavier recording but it’s out today and I’m having a listen. I’m pretty much always ready to try a new one of these. I don’t know what I think yet but the sound is good and she has a very clear and even touch. I wonder if she’s a bit rigid though.