Author Topic: Bach on the piano  (Read 165956 times)

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Offline Mandryka

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Re: Pietro Soraci
« Reply #900 on: May 09, 2020, 06:45:02 AM »
Hello to Bach on the Piano thread community! I'd read this thread from time to time and eventually it is mostly this thread (its contents and mentions and my willingness to add something) that encouraged me to register on forum. I will not repeat my introduction post here, so let me introduce Pietro Soraci.

I was very astonished hearing his English Suites first time (a month or two ago) and I cannot stop and listened a half of recording (three suites) at once. Usually I listen new recording at so-called checkpoints (specific places important for me) to determine whether performance is suitable for me for further listening.

N.B. Links below (and videos in playlists) are of YouTube ownership (licensed and auto-generated by YouTube) and fully legal. And because of YouTube policies are not guaranteed to be available at all (depending on visitor's geolocation).

Firstly, some quick-links and timings that can be of interest.

Partita 4, Allemande: 10:10
Partita 6, Sarabande: 7:25
Goldberg Variations, Variation 25: 10:31.



J.S.Bach: [ English Suites | Partitas: Vol. 1 & Vol. 2 | Goldberg Variations ] Pietro Soraci (Piano)

I'm listening to the 6th partita now. He's clearly a very fine musician and he has a very fine instrument too, well recorded.

It is fundamentally, essentially a modern piano performance. What I mean, he has used techniques which are specific to that instrument -- the colours, the way the voices form layers, different types of attack etc -- to create something new and fresh.
Wovon man nicht sprechen kann, darüber muss man schweigen

Offline milk

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Re: Bach on the piano
« Reply #901 on: May 10, 2020, 03:23:05 AM »
I ended up listening to Rangell, I couldn't make it past Contrapunctus IV. Far too weird for me and constantly being taken out of the music, the most jarring part were the seemingly haphazardly placed accents. I did listen to the same amount from Joanna Macgregor and I enjoyed this much more, there is a certain beauty to her playing almost like early era Rosalyn Tureck, I only listened to the first four Contrapuncti.

I briefly listened to the recently released Helsinki recording of Nikolayeva, I don't hear much difference from the Hyperion recording and the sound quality is significantly worse.

I will explore Macgregor some more today, I take it she has only recorded it once and the various versions on different CDs are the same recording?
I listened to Rangell and Macgregor's AOF back to back. I can't say why I prefer Macgregor. Maybe I don't know. I wasn't paying close attention but at a certain point I felt, "oh this is good" and looked to see Macgregor had started.
I like Macgregor's French whole-heartedly, although I can also say that it's a bit much...in a good way   

Offline milk

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Re: Pietro Soraci
« Reply #902 on: May 11, 2020, 03:24:23 PM »
I'm listening to the 6th partita now. He's clearly a very fine musician and he has a very fine instrument too, well recorded.

It is fundamentally, essentially a modern piano performance. What I mean, he has used techniques which are specific to that instrument -- the colours, the way the voices form layers, different types of attack etc -- to create something new and fresh.
Who do you think achieves something like what you describe in AOF?
I think Edna Stern released a recording of 1, 2, and 6 that are like you describe, though no necessarily like Soraci. I wonder why she hasn't completed the cycle.

Offline SergeCpp

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Re: Bach on the piano
« Reply #903 on: May 11, 2020, 09:26:25 PM »


Bach Art Of Fugue — Millette Alexander & Frank Daykin (Piano Duo)

Connoisseur Society.
Recorded 1994.
Total Time ~88 minutes.

In my personal top list for AOF on Piano (though Duo).

Cannot find on YouTube.
There is a strangeness in simple things.