Bach on the piano

Started by mn dave, November 13, 2008, 06:12:24 AM

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(: premont :)

Quote from: Mandryka on August 06, 2022, 07:10:10 PM
The piano was the domestic instrument par excellence in the 19th century and most of the 20th century.

The grand piano was rare except in the upper class, whereas some different kinds of upright pianos were more common in the middle class. And there is no intimacy in Messori's performance.

And BTW the music was written before 1730, long time before these noisy pianos became common.
As soon as a word has left the lips, not even the fastest horse can catch up with it.

milk

Quote from: (: premont :) on August 07, 2022, 02:09:52 AM
The grand piano was rare except in the upper class, whereas some different kinds of upright pianos were more common in the middle class. And there is no intimacy in Messori's performance.

And BTW the music was written before 1730, long time before these noisy pianos became common.
I'd like to hear these on a square piano, how someone might have practiced them at some point, at some time. Joanna Leach made some recordings on a square but not these pieces in particular. I think she did a partita.

Mandryka

Well you can hear them on a Pleyel plucking piano here -- this is the side of Landowska which I like, much more inspired IMO than her later stuff. It's as if the war changed her.

https://www.youtube.com/watch?v=ydWCOx8yNNU&ab_channel=aherzog
Wovon man nicht sprechen kann, darüber muss man schweigen

(: premont :)

I much prefer Yuan Sheng, Robert Hill and Benjamin Alard, and I'm not sufficiently masochistic to listen to Wanda Landowska for that long.
As soon as a word has left the lips, not even the fastest horse can catch up with it.

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

#1105
I'm finding myself very much appreciating Gieseking's English Suites - radiant and light, insouciant and fresh. And a a very distinctive seamlessness - each movement like an unbroken stream.

https://m.youtube.com/watch?v=JkvwJQZI1jw
Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

#1107


I know this is what you need like a hole in the head, another Goldberg Variations by a young unknown. However, I think Tianqi Du's pretty good and worth a chance - strongly anti virtuosic, that's why. He's reflective, humble, and poised.

(I really like it, it's touched something in me this morning.)
Wovon man nicht sprechen kann, darüber muss man schweigen

Dry Brett Kavanaugh

Unique and very different approach. I read a few reviews on the web and they were mostly skeptical or negative. Still I hear some good ideas and interesting interpretations.



  .




Dry Brett Kavanaugh

Quote from: Mandryka on October 12, 2022, 11:25:25 PM


I know this is what you need like a hole in the head, another Goldberg Variations by a young unknown. However, I think Tianqi Du's pretty good and worth a chance - strongly anti virtuosic, that's why. He's reflective, humble, and poised.

(I really like it, it's touched something in me this morning.)

Not a big fan of Goldberg V, but yes excellent and unique performance.

(: premont :)

Quote from: Dry Brett Kavanaugh on October 24, 2022, 09:25:35 AM
Unique and very different approach.


I am sad to say that I find Diana Boyles AoF to be one of the most misguided interpretations ever recorded of the work. In that way it is unique.
As soon as a word has left the lips, not even the fastest horse can catch up with it.

Dry Brett Kavanaugh

Quote from: (: premont :) on October 24, 2022, 09:33:59 AM
I am sad to say that I find Diana Boyles AoF to be one of the most misguided interpretations ever recorded of the work. In that way it is unique.

Technically you maybe right. I wouldn't contend about your opinion.

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

milk

http://www.musicweb-international.com/classrev/2022/Oct/Afar-olafsson-DG4861681.htm

I kind of disagree with this pan of Olafsson but maybe I'm damning him with my reasons. I didn't know where to link this actually. It probably goes somewhere else; there are only a few Bach tracks. I just think Olaffson isn't a great interpreter of anything really so this mood music struck me as on the mark. Recently I've just needed elevator music. I haven't seen anything he's done as really serious. Let him try to do a WTC. That would be interesting. Does he have the focus? I doubt it. I think he is a kind of artist but he hasn't proved to have any long-ranged vision. I actually particularly liked this release for the upright piano recordings. I think those are the best tracks. 

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

Dry Brett Kavanaugh

Quote from: Mandryka on October 30, 2022, 05:57:13 AM
https://www.youtube.com/watch?v=-eq2tKIKcPM&ab_channel=opus3863b

Gen Hirano Bach Well Tempered Clavier Book II No.22, Prelude & Fugue

And the same person in AoF Cpt 1

https://www.youtube.com/watch?v=U5h9ATpGcjE&ab_channel=opus3863b

Nice tone, nice performance. The rendition of Prelude and Fugue could be a little slower? Sounds good anyway

Dry Brett Kavanaugh

If I am listening to a wrong record again, please report to the Inquisition.













Mandryka

#1117
Quote from: Dry Brett Kavanaugh on November 15, 2022, 09:30:28 PM
If I am listening to a wrong record again, please report to the Inquisition.




There was a bit of discussion about this when it came out

https://www.good-music-guide.com/community/index.php/topic,20.14920.html


Quote from: amw on December 30, 2018, 03:57:43 AM
The Barto is not an accurate reflection of the Busoni edition on any level—the notes are closer to the Bach original, the nuances entirely Barto's. Tanski seems to be the only "proper" recording of the Bach/Busoni.


Quote from: Mandryka on December 30, 2018, 04:15:17 AM
Well done for making that clearer,  when you look carefully at the recording it doesn't say that it's the Bach/Busoni, it says "after the adaption of Ferrucio Busoni", and the section in the booklet about Busoni speaks only of the organ "adaption."  I think it's slightly contemptuous of the public that Barto didn't put anything in the booklet to explain what he's done.

If you're right the CD is very misleading,  there are a couple of reviews on the UK amazon which just assert (as I would have done) that he's playing the Bach/Busoni, and I remember Don Satz, who has like 1,000 different sets of Goldbergs, telling me that it was the Bach/Busoni.

Pretty poor show on Barto's part.

Sara Davies Buechner has recorded the Bach/Busoni Goldbergs, I expect it's a pretty good performance, I haven't heard it but I remember she did the Bach/Busoni Well Tempered Clavier rather well.

https://www.youtube.com/v/3ApC9ziaH44

Quote from: SurprisedByBeauty on December 30, 2018, 04:58:10 AM
It's not on Tzimon Barto that the liner notes are what they are -- except, perhaps, not caring enough to make sure they aren't generic standard notes. That's on the label. But yes, it's really not the Busoni version but for all practical purposes the Barto-version hiding behind the Busoni. That said, I love the recording.
Wovon man nicht sprechen kann, darüber muss man schweigen

Dry Brett Kavanaugh

^ Thank you for the info and link. I understand the issue. Still I like the Barto rendition. The Buechner sounds very good- spacious in Iki style. I knew her name because of her excellent Turina album.

Mandryka

There are enough ideas in Risto Lauriala's partitas CD to make it worth a look, I think.
Wovon man nicht sprechen kann, darüber muss man schweigen