The Romantics in Period Performances

Started by Que, April 09, 2007, 07:07:54 AM

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Brian

Quote from: Mandryka on July 24, 2015, 12:38:21 PM
Yes I'd seen those but kind of passed over them because they're about Mozart.
She does talk about early vs. late Beethoven too, but the interview format was not such that we could really dive into every individual piece. I wish it were.

Mandryka

Quote from: Brian on July 24, 2015, 12:43:49 PM
She does talk about early vs. late Beethoven too, but the interview format was not such that we could really dive into every individual piece. I wish it were.

I added some things to my post while you were typing that Brian!
Wovon man nicht sprechen kann, darüber muss man schweigen

Brian

Quote from: Mandryka on July 24, 2015, 12:54:34 PM
I added some things to my post while you were typing that Brian!
Oops!!

I didn't ask her about academic sources or teachings about period practice, but inferred from her answers that the resource she values most, when considering how to interpret a piece, is the instrument placed in front of her and patient study of what the instrument does best & how it feels under her hands.

Mandryka

Quote from: Brian on July 24, 2015, 12:59:01 PM
Oops!!

I didn't ask her about academic sources or teachings about period practice, but inferred from her answers that the resource she values most, when considering how to interpret a piece, is the instrument placed in front of her and patient study of what the instrument does best & how it feels under her hands.

I got that impression too (I've read similar things from Ton Koopman)
Wovon man nicht sprechen kann, darüber muss man schweigen

milk

@ Mandryka, Brian and Gordo
Very interesting discussion here on Crawford.   

Wakefield

#585
Quote from: Brian on July 24, 2015, 12:59:01 PM
Oops!!

I didn't ask her about academic sources or teachings about period practice, but inferred from her answers that the resource she values most, when considering how to interpret a piece, is the instrument placed in front of her and patient study of what the instrument does best & how it feels under her hands.

I hadn't read your interview with Crawford. It's excellent.

Your last reply recalled me an insightful response of the pianist and fortepianist Olga Tverskaya:

"My view is that the fortepiano is the only surviving witness of how Schubert's works actually sounded, and so it is the most reliable guide for my interpretations. By trusting the instrument entirely and never imposing upon it, I let it tell me which tempos and dynamics are most appropriate to the style of the piece I wish to play. With its enormous range of colours, its warm, singing, yet deep and powerful sound, the instrument itself gives vivid insight into the phrases, forms and contrasts as well as the atmospheres Schubert had in mind when composing. - - Because the instrument is so evocative, a strong sense of intimacy has grown up between me and the music Schubert wrote, to such an extent that I feel I am close to him, that he and I share feelings and thoughts with the listener."



http://www.musicalpointers.co.uk/reviews/cddvd/pianists.htm#tv


"One of the greatest misfortunes of honest people is that they are cowards. They complain, keep quiet, dine and forget."
-- Voltaire

Brian

Todd stumbled on this, cross-posting it here:





Bluthner piano 1856

Wanderer

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Que asked me a while back and now that the disc has arrived (just now in fact!) I can answer: Kuijken plays on a 1868 J.B. Streicher pianoforte (No.6680).

Mandryka

Quote from: Wanderer on January 18, 2016, 12:10:09 AM
.[asin]B016VJM3BM[/asin]

Que asked me a while back and now that the disc has arrived (just now in fact!) I can answer: Kuijken plays on a 1868 J.B. Streicher pianoforte (No.6680).

Ah I thought it didn't sound the same as the piano he used for Schumann, which was (I have been told)  an 1850 streicher.
Wovon man nicht sprechen kann, darüber muss man schweigen

kishnevi

Listening to this

Piano Quintet in A "Trout" D 667
Sonata for Arpeggione and Piano in a minor D821
Adagio for Piano Trio in E Flat "Notturno" D897

This is a budget box, so no liner notes to explain the reasoning for the treatment of the fortepiano in the Sonata and Adagio.
Description of the fortepiano
Quote
Johann Nepomuk Troendlin,Leipzig
early 19th century (Viennese action)
restored by Jan van der Hemel, Antwerp, 1996
Sonata and Adagio played with the lid taken off,
but with a second soundboard
Tuned by Claire Chevallier
Anyone know why?

Jo498

I have the original single issue of that disk and there are two commentary texts (Bylsma and Robbins Landon) but there is no mentioning of the differently prepared piano in them.
Tout le malheur des hommes vient d'une seule chose, qui est de ne savoir pas demeurer en repos, dans une chambre.
- Blaise Pascal

milk

I believe this is the third (and final?) disc in a, sort of, series. How are people finding it? How does the series (the trios) compare with Hugget's group or Atlantis? Any thoughts? A cursory listen to #3 leads me to believe Melnikov is a bit more lugubrious than Hugget - and less sharp angled. The mix is also less upfront. Comparing #1 on the new disc to Atlantis is a bit different too. Melnikov, Faust and Queyras hang together a bit more than Atlantis maybe. I love Crawford's sound but Mr. Schroder is not to everyone's taste. Seems like Melnikov and company are good when it comes to togetherness and they do create some nice drama without questionable intonation. Anyway, I'm enjoying it. I still wonder why more period groups don't tackle Dvorak's trio and piano quintet and quartet. 

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bigfan2710

Quote from: eoghan on April 19, 2015, 01:26:21 AM
Browsing the Anima Eterna/Immerseel discography (http://animaeterna.be/discografie/?lang=en) is interesting - a lot of late 19C works covered. They tackle, amongst others, Tchaikovsky's 4th symphony; the Symphonie Fantastique (a quick google comes up with fairly negative reactions to this one); Carmina Burana (!); an album of Rimsky-Korsakov (Sheherazade) and Borodin - this one particularly interests me; an album of Ravel; Pictures at an Exhibition; a Poulenc CD; and one of Debussy. There's also a HIP Johann Strauss album! Does anyone have any of these and can offer opinions? On paper it sounds like plenty of interesting stuff.

By the way, I love Gardiner's Planets.

Must Highly recommend Anima Aterna.  I have a number of their recordings.  Uniformly good. In particular Tchaikovsky 4, Sheherazade, Pictures at an exhibition and my favourite, the Ravel Album.....it even got me listening to Bolero properly all the way through!!!!!

milk


Enjoying this tonight. I'm not sure these musicians made a splash in any other repertoire...Landgraf in particular hasn't recorded much else? I love her sound.

milk

#594

I just started listening to this but, so far, very lively (and beautiful sound design).

The One

Quote from: milk on October 27, 2016, 05:52:50 AM
I believe this is the third (and final?) disc in a, sort of, series. How are people finding it? How does the series (the trios) compare with Hugget's group or Atlantis? Any thoughts? A cursory listen to #3 leads me to believe Melnikov is a bit more lugubrious than Hugget - and less sharp angled. The mix is also less upfront. Comparing #1 on the new disc to Atlantis is a bit different too. Melnikov, Faust and Queyras hang together a bit more than Atlantis maybe. I love Crawford's sound but Mr. Schroder is not to everyone's taste. Seems like Melnikov and company are good when it comes to togetherness and they do create some nice drama without questionable intonation. Anyway, I'm enjoying it. I still wonder why more period groups don't tackle Dvorak's trio and piano quintet and quartet. 

[asin]B01AMFCI2A[/asin]

I haven't enjoyed this much, maybe because of the bar set by the violin concerto. But the first time I've heard the violin concerto it was a true experience. Faust's even topped Tetzlaff's for me.

The One

Quote from: milk on December 12, 2017, 01:07:06 AM

I just started listening to this but, so far, very lively and (beautiful sound design).
A copy of a 1830 Pleyel and a 1711 Stradivarius with gut strings for 1838 and 1843 sonata compositions. Lovely.

milk

Feeling romantic this evening and quite enjoying these dusty old pianos (Stern on an 1842 Pleyel piano):


Brian

Any good/recommmended HIP performances of the Grieg Lyric Pieces (or other Grieg on piano)? I know there is a CD on MDG with Heidi Kommerell.

The One

Quote from: Brian on January 03, 2018, 07:35:15 AM
Any good/recommmended HIP performances of the Grieg Lyric Pieces (or other Grieg on piano)? I know there is a CD on MDG with Heidi Kommerell.
There was a recording with Grieg's own piano. I don't think it could get more HIP than that  :laugh:

Chase the butterfly