I became a member GMG just over three years ago. The combination of the GMG and first accessing Qobuz as a streaming service helped keep me engaged and sane during enforced lockdowns, exacerbated by a hernia that could not get treated for months due to COVID restrictions. I have greatly enjoyed reading the wisdom and learnt a great deal, though some of the petty spats are irritating.
I thought it would be fun and illuminating to start a thread on this topic. Pianists who emerged into the recording domain in the first decade of the 21st century have had about 15 to 25 years to build up a recorded repertoire. As a result I expect a significant range of composers, preferably including both core repertoire and some less well known composers. Through GMG I have had a chance to discover several wonderful pianists who fit the bill - examples being Kosuge, Lucchesini, Schuch and Chamayou. As always members will welcome some flexibility at the margins - selected favourites might have an early recording just before 2000. Equally my intention is to include and welcome diversity across solo piano, chamber music and concertos.
Of course would also be expected to hear reasons for the choice of favourites and possibly suggestions for recording you would most like them to add to their repertoire.
All views will be subjective (except possibly Todd?) and based on making a connection with the pianist. I assume that having heard them live might help inform subjective judgements.
Easily Dina Ugorskaja.
Lucchesini had been making recordings in the 80s and 90s.
Oops!
My own favourite is comfortably Steven Osborne who plays with great depth and precision. I base my opinion partly on having seen him perform quite a few times and having accumulated virtually all his recordings on CD from Hyperion. Luckily these are now available on streaming services. In these pages his playing has sometimes been referred to as 'museum quality' - superb pianism and virtuosity in service of the music should qualify for this as an accolade, but it is a 21st century museum and not rigid or fusty. His solo recordings span a considerable repertoire with some emphasis on 20th century composers - Kapustin, Messiaen, Debussy, Medtner, Tippett, Rachmaninov, Ravel, Prokofiev, Crumb, and Feldman; 19th century solo works include Beethoven (a superb Hammerklavier), Alkan, Schubert, Mussorgsky. He has collaborations with cellists Gebhardt (Schnittke, Shostakovich, Britten, Alkan and Chopin) and Rivinius (Schumann); duo pianists Roscoe (Messiaen) and Lewis (Schubert and French), violinist Ibragimova (Prokofiev) and clarinettist Johnson (Brahms and Rosza). His orchestral pieces include Tippett, Britten, Messiaen ( Turangalila and Canyons), Stravinsky, Falla and Ravel. What a range, with every thing played with care, fidelity to the score, and virtuosity.
I saw Steven Osborne for the first time in the Edinburgh Festival around 1990. He emerged with his Messiaen I'd say.
Quote from: Hobby on April 25, 2024, 05:37:12 AMI became a member GMG just over three years ago. The combination of the GMG and first accessing Qobuz as a streaming service helped keep me engaged and sane during enforced lockdowns, exacerbated by a hernia that could not get treated for months due to COVID restrictions. I have greatly enjoyed reading the wisdom and learnt a great deal, though some of the petty spats are irritating.
I thought it would be fun and illuminating to start a thread on this topic. Pianists who emerged into the recording domain in the first decade of the 21st century have had about 15 to 25 years to build up a recorded repertoire. As a result I expect a significant range of composers, preferably including both core repertoire and some less well known composers. Through GMG I have had a chance to discover several wonderful pianists who fit the bill - examples being Kosuge, Lucchesini, Schuch and Chamayou. As always members will welcome some flexibility at the margins - selected favourites might have an early recording just before 2000. Equally my intention is to include and welcome diversity across solo piano, chamber music and concertos.
Tobias Koch. Tom Beghin.
Quote from: Mandryka on April 25, 2024, 06:39:30 AMI saw Steven Osborne for the first time in the Edinburgh Festival around 1990. He emerged with his Messiaen I'd say.
I first saw him there in 2002, performing a wonderful quartet for the end of time in a late night concert and Brahms and Ravel trios in Queens Hall. 2002 is when his first Messiaen recording of Vingt Regards was issued.
Quote from: Hobby on April 25, 2024, 07:07:14 AMI first saw him there in 2002, performing a wonderful quartet for the end of time in a late night concert and Brahms and Ravel trios in Queens Hall. 2002 is when his first Messiaen recording of Vingt Regards was issued.
Gosh -- I thought the Messiaen was earlier than that! Time plays tricks on you.
It's nearly impossible to select just one pianist who emerged in the first decade of the century, based on recordings, because so many are extraordinary. I'll break them down into two groups, the Big Five and all the rest. I know I missed some. (I noted where the pianists released their earliest recording(s) at the very end of the 90s.)
Big Five (kind of in order, but not really)
Herbert Schuch
YES
William Youn
Bertrand Chamayou
Ragna Schirmer
Others of no little distinction
Alessandra Ammara
Daniil Trifonov
Dina Ugorskaja
Dong-Hyek Lim
Dong-Min Lim
Enrico Pace (possibly the greatest mostly accompanist working today)
Evgeni Bohzhanov
FFG (90s)
Irina Mejoueva (90s)
Maurizio Baglini (90s)
Minsoo Sohn (aka, Yunchan Lim's teacher)
Naida Cole (only two major recordings, one from the 90s)
Natahca Kudritskaya
Roberto Prosseda
Steven Osborne
Vassily Primakov
Yu Kosuge (90s)
Paul Lewis. When did he emerge? There are good things - the Winterreise with Padmore, the solo Schubert.
And of course there's the elephant in the room - HJ Lim.
Quote from: Hobby on April 25, 2024, 05:37:12 AMI became a member GMG just over three years ago. The combination of the GMG and first accessing Qobuz as a streaming service helped keep me engaged and sane during enforced lockdowns, exacerbated by a hernia that could not get treated for months due to COVID restrictions. I have greatly enjoyed reading the wisdom and learnt a great deal, though some of the petty spats are irritating.
I thought it would be fun and illuminating to start a thread on this topic. Pianists who emerged into the recording domain in the first decade of the 21st century have had about 15 to 25 years to build up a recorded repertoire. As a result I expect a significant range of composers, preferably including both core repertoire and some less well known composers. Through GMG I have had a chance to discover several wonderful pianists who fit the bill - examples being Kosuge, Lucchesini, Schuch and Chamayou. As always members will welcome some flexibility at the margins - selected favourites might have an early recording just before 2000. Equally my intention is to include and welcome diversity across solo piano, chamber music and concertos.
Welcome to GMG! And fun topic!
Francesco Piemontesi is the first name that came to my mind....
Quote from: Todd on April 25, 2024, 08:22:20 AMBig Five (kind of in order, but not really)
Herbert Schuch
YES
William Youn
Bertrand Chamayou
Ragna Schirmer
Who is "YES"?
Here are some YouTube videos of Yeol Eum Son in 2005 (Chopin Etudes Op 25, complete, age 19 (https://www.youtube.com/watch?v=zj_pyyQmeDg)), 2011 (finale of Prokofiev's Second Concerto, age 25 (https://www.youtube.com/watch?v=I7BcWLa8T6Y)), and 2022 (Moszkowski's Etincelles (https://www.youtube.com/watch?v=FsW78Ja6zls)).
Quote from: Brian on April 25, 2024, 11:27:19 AMHere are some YouTube videos of Yeol Eum Son in 2005 (Chopin Etudes Op 25, complete, age 19 (https://www.youtube.com/watch?v=zj_pyyQmeDg))
She recorded the complete set around the same time as well: https://www.good-music-guide.com/community/index.php/topic,26952.msg1203495.html#msg1203495
She needs to record everything under the sun.
If I lived in LA, I'd listen to her play Mozart this weekend.
Not yet mentioned:
Nino Gvetadze
Daniil Trifonov
Khatia Buniatishvili
David Fray
Beatrice Rana
Kit Armstrong
Alice Sara Ott and her sister Mona Asuka
Benjamin Grosvenor
I have a feeling that several of these pianists emerged in the 2010's rather than earlier. I was also surprised by the earlier inclusion of Nadia Cole, with only two major recordings and one of these from 1990's. I would expect any serious candidates to have at least 10 or 12 recordings by now given 15 to 25 years since 'emergence' on the recorded scene. I had hoped this thread would be avoiding long lists of very good or excellent pianists and select real favourites with more discussion of what makes the performers special.
Quote from: Florestan on April 25, 2024, 11:39:41 PMNot yet mentioned:
Nino Gvetadze
Daniil Trifonov
Khatia Buniatishvili
David Fray
Beatrice Rana
Kit Armstrong
Alice Sara Ott and her sister Mona Asuka
Benjamin Grosvenor
There are tons that haven't been mentioned. We are living in a time when there are more independent classical labels than ever before. And I'm only including pianists that have at least three albums, the list gets considerably longer if I'd have included those that only have one or two. Among the numerous great things about visiting Italy, one of my favorite aspects is hearing pianists at free concerts or paid concerts that can only sit 20-50 people interpret music just as well as musicians that can perform in an average sized concert hall.
Joseph Moog
Behzod Abduraimov
Anna Ojiro - 3 for 3, all of her albums could be considered among the very greatest interpretations for repertoire. Including Chopin Preludes which I have kept (discarded many) around 12-15 sets.
Rika Miyatani - looks remarkably young but she is in her early 50s. She might have recordings from the 90s, but I think she only started making recordings after doing well in Chopin and Tchaikovsky Competitions.
Daniele Pollini
Marilyn Nonken
Yevgeny Sudbin
Cathy Krier
Sabine Liebner - though she has a recording from 1999, she is worth mentioning. One of the very best modern music interpreters ever.
Mark Knoop
Quote from: Atriod on April 26, 2024, 04:35:12 AMBehzod Abduraimov
No doubt he's one of the great pianists today, but he did not emerge until the 2010s.
Quote from: Todd on April 26, 2024, 04:49:37 AMNo doubt he's one of the great pianists today, but he did not emerge until the 2010s.
Woops thought it was 21st century in general, I see the thread starter does specify 1st decade.
Quote from: Hobby on April 26, 2024, 04:08:57 AMI was also surprised by the earlier inclusion of Nadia Cole, with only two major recordings and one of these from 1990's. I would expect any serious candidates to have at least 10 or 12 recordings by now given 15 to 25 years since 'emergence' on the recorded scene.
Ms Cole was a very fine talent and one of the great what could have beens had she opted to pursue a career as a concert pianist. Several concerts have also circulated, and I believe she still engages in public performances as fundraisers for medical charities now. Quantity of recordings is irrelevant, of course. The most famous example of that is Ignaz Friedman. Esteban Sanchez left few recordings given his talent. Arcadi Volodos is only about ten recordings in after over a quarter century. While Ms Cole is not at the same level as the mentioned gentlemen, they illustrate the point.
While lists can sometimes be boring, they are no more boring than limiting the world of extraordinary pianists now on offer to just one. I can offer color to my Big Five – well, I could for all of them and more – and it will be oh so brief.
Herbert Schuch – Immense technique combined with novel but non-eccentric approaches to core rep, with other rep mixed in. His ability to play any genre, any period, and infuse his new ideas captivates. His mixed rep discs are outstanding, the LvB-Ligeti one is a work of genius. Anyone who elevates Invitation to the Dance to serious music is tip-top.
YES – Superb technique, great rhythmic sense, captivating touch, and at home in all genres and all time periods she's covered so far. She's been able to displace Pollini and establish my new personal reference in Stravinsky's Three Movements from Petrushka.
William Youn – Favors refined and poetic playing, beauty, and fine gradations of dynamics between pianissimo and mezzo-piano over barnstorming virtuosity, thought he can do that too. Mesmerizing pianism.
Bertrand Chamayou – The ne plus ultra of contemporary French pianism. While some of his playing sounds potentially less profound than some others, his ability to play anything with ease makes even the most knotty music enjoyable. Forget Yunchan Lim, Chamayou's Transcendental Etudes are still the best on the market.
Ragna Schirmer – Serious, meticulous, sometimes almost dour, but with high-end technique and an ability to let loose when she wants (eg, the jazzy transcriptions of Handel concertos, awful as they may be to my ears), she comes closest to rising to the level of being the modern-day Annie Fischer, though both YES and Irina Mejoueva are not far behind.
Thanks Todd. Knew we could rely on you to come up with deep and interesting insights. I thought the bar at 10 or 12 fairly low on numbers for 15 to 25 years of activity but of course there are exceptions - at least one Nobel Prize winner in Economics had very few publications. Ugorskaja and Angelich come to mind as having been cut short by premature death too.
Quote from: Hobby on April 26, 2024, 07:05:01 AMUgorskaja and Angelich come to mind as having been cut short by premature death too.
I included Ugorskaja in my list, but Angelich began recording and concertizing widely in the mid-90s.
Quote from: Mandryka on April 26, 2024, 07:15:05 AMLink please.
I found this:
There may be others.
PD
EDIT:
https://www.youtube.com/watch?v=kb3rLQKXfK4
ChatGPT on why Herbert Schuch is a great pianist:
Quote from: Future head of DG marketingHerbert Schuch is widely regarded as a great pianist for several reasons. Firstly, his technical mastery of the instrument is impeccable. He possesses a remarkable command over the keyboard, allowing him to execute even the most demanding pieces with precision and finesse.
Secondly, Schuch is known for his deep musical insight and interpretative prowess. He delves into the emotional core of each piece, bringing out its nuances and expressing its innermost sentiments with clarity and sincerity. His interpretations are often praised for their depth, sensitivity, and intelligence.
Additionally, Schuch's performances are characterized by their compelling artistry and expressive range. Whether he is tackling classical masterpieces or contemporary works, he infuses his playing with a captivating sense of musicality and creativity, captivating audiences and critics alike.
Furthermore, Schuch is admired for his dedication to musical exploration and innovation. He is not afraid to take risks and push boundaries, constantly seeking new ways to interpret familiar repertoire and championing lesser-known composers and works.
Overall, Herbert Schuch's combination of technical excellence, interpretative insight, artistic flair, and adventurous spirit mark him as one of the great pianists of his generation, earning him acclaim and admiration from audiences and fellow musicians worldwide.
That's some very insightful writing. It's so good that I then asked ChatGPT to list Schuch's greatest recordings and describe why they are great:
Quote from: Future former head of DG marketingHerbert Schuch has several acclaimed recordings that showcase his exceptional talent and musicality across a range of repertoire. Here are a few standout examples:
Schubert: Piano Sonata D. 960 & Moments Musicaux - Schuch's recording of Schubert's Piano Sonata in B-flat major, D. 960, and Moments Musicaux is widely praised for its profound musicality and insightful interpretation. He brings out the depth and lyricism of Schubert's writing with sensitivity and clarity, capturing the emotional essence of these iconic works.
Brahms: Piano Concertos Nos. 1 & 2 - Schuch's recording of Brahms' Piano Concertos Nos. 1 & 2 showcases his commanding presence as a soloist, as well as his ability to collaborate seamlessly with orchestras. His performances are marked by their technical brilliance, expressive depth, and dynamic range, making this recording a standout in the Brahms discography.
Liszt: Transcendental Études - Schuch's recording of Liszt's Transcendental Études demonstrates his virtuosity and flair for the dramatic. He navigates the formidable technical challenges of these pieces with ease, while also bringing out their poetic and expressive qualities. His interpretation breathes new life into these iconic works, earning praise from critics and audiences alike.
Debussy: Préludes, Books 1 & 2 - Schuch's recording of Debussy's Préludes showcases his affinity for the French Impressionist style. He captures the atmospheric and evocative nature of Debussy's music with finesse, displaying a keen sense of color, texture, and nuance. His performances are characterized by their elegance, subtlety, and sheer beauty.
Schumann: Piano Works - Schuch's recording of Schumann's piano works offers a comprehensive survey of the composer's output, ranging from the intimate lyricism of the Kinderszenen to the virtuosic fireworks of the Toccata. Throughout the recording, Schuch demonstrates a deep understanding of Schumann's music, bringing out its inherent passion, lyricism, and emotional depth.
Overall, these recordings exemplify Herbert Schuch's exceptional artistry and musicianship, earning him widespread acclaim as one of the finest pianists of his generation.
(https://media1.tenor.com/m/1RV0zZ6cAmsAAAAC/huhh-what.gif)
I'm intrigued by this. I cannot find any of these recordings on Qobuz and they are not listed on Herbert Schuch's website. What am I missing? I certainly love his recordings that I have heard.
Am I right in assuming chat GPT has become the new vehicle for 'objective' assessment? It would be fun if it scraped the GMG site and provided the objective answer to Todd's favourite 2000 emergent pianist!
It would be interesting to see what it came up with for Steven Osborne.
Todd wrote
"Ms Cole was a very fine talent and one of the great what could have beens had she opted to pursue a career as a concert pianist. Several concerts have also circulated, and I believe she still engages in public performances as fundraisers for medical charities now. Quantity of recordings is irrelevant, of course. The most famous example of that is Ignaz Friedman. Esteban Sanchez left few recordings given his talent. Arcadi Volodos is only about ten recordings in after over a quarter century. While Ms Cole is not at the same level as the mentioned gentlemen, they illustrate the point."
I've now had a chance to listen to Ms Cole - her Gaspard and Miroirs are both extraordinary and I look forward to hearing her Liszt sonata. I'm delighted to have been triggered into looking for her and getting the chance to listen, but still feel she did not meet the criteria set.
Talking of Ravel I do think Steven Osborne's complete solo recital is as fine as it gets. I recall that his Gaspard del la unit won the shoot out hands down and that was partly due to three scores of ten from Todd, who then did an A/B comparison with Schuch's recording which he gave to Osborne by a short head.
Quote from: Hobby on April 28, 2024, 12:13:13 AMI'm intrigued by this. I cannot find any of these recordings on Qobuz and they are not listed on Herbert Schuch's website. What am I missing?
No such recordings exist. ChatGPT generated misinformation. It was an LLM fail.
I've now listened to Naida Cole's Liszt Sonata and was not captivated by it. The performance was too bitty and did not hang together - not uncommon with this piece.
Her multitalented story slightly reminds me of Paul Wee, the full time London barrister who recorded a top- notch version of Allan's Concerto and Symphony for solo piano op.39 parts 4-10.
Quote from: Todd on April 28, 2024, 04:41:16 AMNo such recordings exist. ChatGPT generated misinformation. It was an LLM fail.
I'm surprised you didn't notice this before posting.
Quote from: Hobby on April 28, 2024, 04:54:41 AMI'm surprised you didn't notice this before posting.
You did see the Dr Steve Brule gif and the quote attributions, yes?
At the start of this it was proposed that wish-lists for new recordings by the artists would illuminating. Todd often did this in his illuminating Asian Invasion thread.
For Steven Osborne I would love to hear some or all of the following
-Beethoven Op 31 sonatas
-Late Schubert sonatas - I've heard him play D 959 and D 960 live and they were really good interpretations
-Schumann Fantasie - one of my favourite pieces - I just listened to YES version which is magical, despite slightly overlong pauses in first movement but a definite YESSS!!
-Liszt Sonata and Annees de Pelerinage, both among my favourite pieces
-Messiaen Quartet for the End of Time, which I've heard him play live twice. He is a leading Messiaen interpreter.
Quote from: Todd on April 28, 2024, 04:58:06 AMYou did see the Dr Steve Brule gif and the quote attributions, yes?
I'd never heard of Dr Steve Brûlée before this. Perhaps you could explain the reason for the chat GPT post then in the context of this thread?
Quote from: Hobby on April 28, 2024, 05:28:42 AMPerhaps you could explain the reason for the chat GPT post then in the context of this thread?
Fun.
Quote from: Hobby on April 28, 2024, 05:12:54 AMAt the start of this it was proposed that wish-lists for new recordings by the artists would illuminating. Todd often did this in his illuminating Asian Invasion thread.
For Steven Osborne I would love to hear some or all of the following
-Beethoven Op 31 sonatas
-Late Schubert sonatas - I've heard him play D 959 and D 960 live and they were really good interpretations
-Schumann Fantasie - one of my favourite pieces - I just listened to YES version which is magical, despite slightly overlong pauses in first movement but a definite YESSS!!
-Liszt Sonata and Annees de Pelerinage, both among my favourite pieces
-Messiaen Quartet for the End of Time, which I've heard him play live twice. He is a leading Messiaen interpreter.
Have you heard Osborne's DBT? Seeing you mention the Schumann fantasy made me think of it - it's a CD with his Mozart PC 24.
The thing I would love to hear him play on record is Kurtag's Jatekok - I heard him play Kurtag duets with Paul Lewis and it was great fun. And of course, I'd like to hear him play Messiaen's Catalogue d'Oiseaux.
No love for Yuja Wang? Her debut recording (YouTube aside) was 2009.
Quote from: Mandryka on April 28, 2024, 06:31:25 AMHave you heard Osborne's DBT? Seeing you mention the Schumann fantasy made me think of it - it's a CD with his Mozart PC 24.
The thing I would love to hear him play on record is Kurtag's Jatekok - I heard him play Kurtag duets with Paul Lewis and it was great fun. And of course, I'd like to hear him play Messiaen's Catalogue d'Oiseaux.
I don't know that CD at all. I heard him play Kinderszenen live a couple of months ago which was excellent.
Quote from: Hobby on April 28, 2024, 10:27:28 AMI don't know that CD at all. I heard him play Kinderszenen live a couple of months ago which was excellent.
https://www.amazon.co.uk/Concerto-Piano-OSBORNE-STEVEN-piano/dp/B00002888F
I played the DBT after making that post. I think it's wonderful!
How is Osborne's Tovey?
Quote from: Todd on April 25, 2024, 08:22:20 AMOthers of no little distinction
Minsoo Sohn (aka, Yunchan Lim's teacher)
It would be unfortunate if Sohn is remembered primarily as YCL's teacher. I had the privilege of hearing MSS live last night in New York, in an all-Liszt program consisting of the Consolations and Transcendental Etudes. Spectacular technique and musicianship, though not as impulsive or impetuous as Yunchan. (But based on what you say about Chamayou, I'll have to hear his Liszt too, since I think Yunchan is pretty damned good.)
I think MSS's Beethoven is very solid too, though I can't find the CDs even used. You can however download all his Beethoven sonatas from his website.
Quote from: (poco) Sforzando on April 28, 2024, 11:23:50 AMIt would be unfortunate if Sohn is remembered primarily as YCL's teacher. I had the privilege of hearing MSS live last night in New York, in an all-Liszt program consisting of the Consolations and Transcendental Etudes. Spectacular technique and musicianship, though not as impulsive or impetuous as Yunchan. (But based on what you say about Chamayou, I'll have to hear his Liszt too, since I think Yunchan is pretty damned good.)
I think MSS's Beethoven is very solid too, though I can't find the CDs even used. You can however download all his Beethoven sonatas from his website.
Sohn is an enormous talent, but I get the sense that he focuses more on his teaching duties than either concertizing or recording. I hope that his live Diabellis are released one day, assuming they were recorded, and that some pirated live recordings get issued. It's interesting to me that he counts no less than Russell Sherman among his teachers and inspirations. It is difficult to think of two more widely divergent pianists.
Lim is fantastic, don't get me wrong, but so is Chamayou. He has been at it longer, and his musical interest vary widely.
Naida Cole introduced me to a range of composers I'd not really bothered to listen to with Cecile Chaminade really standing out. I rate both her musicianship and technique very highly. A pity she went back to her medical career as she was only just starting out.
That Ojiro Op28/15 is superb and I might be hard pressed to find a better interpretation.
Quote from: Todd on April 28, 2024, 11:00:29 AMHow is Osborne's Tovey?
It was his first CD paired with the Mackenzie concerto 1998 and it's a long time since I listened to it.
His first solo CD was the unusual and highly rated Kapustin in 2000. He visited Kapustin to get hitherto unpublished scores. Given one of Osborne's early heros was the jazz pianist Keith Jarrett the choice of Kapustin for his first solo album makes some sense.
Quote from: Hobby on April 28, 2024, 12:57:20 PMIt was his first CD paired with the Mackenzie concerto 1998 and it's a long time since I listened to it.
It does appear that was his first CD.
Quote from: Todd on April 28, 2024, 01:08:46 PMIt does appear that was his first CD.
The Schumann and Mozart CD was 1992 according to Amazon.
Quote from: Mandryka on April 28, 2024, 01:32:13 PMThe Schumann and Mozart CD was 1992 according to Amazon.
My bad. It also looks like he squeaked in an early Ravel disc for Musical Heritage Society that was released between his first and second Hyperion releases, but I don't know when it was recorded.
In the late 90s and early aughts, comprehensive discographies of different artists seemed more prevalent than today for some reason, and some of the old ones have disappeared. Discogs and allmusic.com do not really suffice. Maybe I will scour the Wayback Machine for discographies at some point.
Quote from: aukhawk on April 28, 2024, 09:44:18 AMNo love for Yuja Wang? Her debut recording (YouTube aside) was 2009.
I was wondering the same, to me her sound is better than most of the pianists listed in this thread. Her recorded repertoire though perhaps is relatively underwhelming.
Here is an interesting YouTube which shows Yuja Wang's heart rate - alongside those of the conductor, the orchestra as a collective, and the audience as a collective - during an extended Rachmaninoff performance at the Carnegie Hall.
Also found this one from 2009
https://www.ippnw-concerts.de/wp-content/uploads/2021/08/84_0.jpg CD #68
10,00 €
Enthält 19% MwSt.
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25 Jahre IPPNW-Concerts – Konzert 20.09.2009 – Schostakowitsch / Schubert
DOWNLOAD CD 68 via eCLASSICAL
Beschreibung
https://www.amazon.co.uk/Schostakowitsch-Schubert-Viviane-Hagner/dp/B003ZBYFY8/ref=sr_1_17?crid=2BO5DDKP91D00&dib=eyJ2IjoiMSJ9.Fyu3eGK7bnb9QMqV1Tf_6F0cPGEDpEv-bryXjNCj14U7Xkvy7Cj3u9tMfPO70qs-.31QecQSdxqXAY29Sl59tKrDHC8OFDnvqwZzJ_E3W_eU&dib_tag=se&keywords=steven+osborne&qid=1714405825&s=music&sprefix=%2Cpopular%2C63&sr=1-17
Link to Amazon page
I can let you have a concert recording of Osoborne with The Petersen Quartet, playing a version of Mozart's PC12 for quartet and piano, and the Shostakovich piano quartet. A concert in Schwetzinger in 2006.
Any thoughts on Jan Liesicki?
Quote from: Mandryka on April 29, 2024, 08:20:56 AMI can let you have a concert recording of Osoborne with The Petersen Quartet, playing a version of Mozart's PC12 for quartet and piano, and the Shostakovich piano quartet. A concert in Schwetzinger in 2006.
That would be nice. It's good to interact with someone who is possibly an even bigger fan of Osborne.
Quote from: aukhawk on April 29, 2024, 12:21:26 AMHere is an interesting YouTube which shows Yuja Wang's heart rate - alongside those of the conductor, the orchestra as a collective, and the audience as a collective - during an extended Rachmaninoff performance at the Carnegie Hall.
Interesting. My guess is it's got nothing to do with how many notes there are in the soloist's part. The heartrate goes up when the music in the orchestra is really loud.
Loud music is overwhelming and scary; it makes one's flight impulses kick in. In days of yore attacking armies used noise as a weapon.
Quote from: aukhawk on April 28, 2024, 09:44:18 AMNo love for Yuja Wang?
Oh, yes, of course, she's lovely indeed. And she can play the piano, too. Dynamite combination. 8)
Quote from: (poco) Sforzando on April 29, 2024, 10:03:59 AMAny thoughts on Jan Liesicki?
Quite positive thoughts actually, at least in Chopin's nocturnes. I kind of feel that he's managed to find a very personal approach to the nocturnes - I mean there are loads of ideas about rubato, tempo etc - but it doesn't come across as unnatural to me, or as self conscious. I haven't heard the etudes yet - and I'm not much interested in concertos these days.
Quote from: Mandryka on May 01, 2024, 07:36:00 AMQuite positive thoughts actually, at least in Chopin's nocturnes. I kind of feel that he's managed to find a very personal approach to the nocturnes - I mean there are loads of ideas about rubato, tempo etc - but it doesn't come across as unnatural to me, or as self conscious. I haven't heard the etudes yet - and I'm not much interested in concertos these days.
Listened to them very recently, loved them.
Lisiecki is very good, not only in
Chopin but also in
Mendelssohn's PCs.
Quote from: Mandryka on April 26, 2024, 07:15:05 AMLink please.
https://octavia-shop.com/shop/shopdetail.html?brandcode=000000001599&search=ojiro&sort=
I haven't ripped the disc, I've been listening to it in my disc spinner. Let me see if I can find it to make it easier to hear.
To catch up on some discussion that has taken place
Yeol Eum Son that has already been mentioned - one of the most impressive for sure. Berg Piano Sonata, Stravinsky Three Pieces from Petrushka on her Modern Times are among the best. I have even posted to GMG that I never listened to that Petrushka suite because I could just listen to the orchestral version that has far more color, texture, and isn't as continuously propulsive as the piano suite. But she changed my mind on it with her very well proportioned interpretation with no extremes. I thought maybe I had changed my mind on the piece but I went back to Khatia Buniatishvili and I could not make it through it. The other CD from her I find just as good is the Schumann album, surprising to me her and Marc-André Hamelin were two that did among the best in Schumann's Fantasie in C when I was doing it blind. I agree with Jed Distler that the Mozart Piano Sonatas I've heard are a bit generically interpreted.
Some more that have not been mentioned:
Kotaro Fukuma - incredible transparency ala Yeol Eum Son, but a certain something in his interpretations, maybe an extremely slight hardness in tone or phrasing not present with Yeol Eum Son. Chopin Ballades even in a crowded field are among the best I've heard. The Albeniz Iberia lets you very clearly hear the genius in Albeniz's piano writing (better than Marc-André Hamelin).
Alexander Romanovsky - some of the best Rachmaninoff Etudes-Tableaux I've ever heard. Worthy of the same breath as Richter, early Lugansky (not sleepy eyed Harmonia Mundi Rach), or Babayan. Really bloody good Schumann and Brahms variations as well.
These two might be 2010s but no bother.
There is one more pianist I am thinking of just on the tip of my tongue that I can't bring to the forefront!
Fukuma is a perfect fit with his debut recording in 2004 and his Iberia in 2007. I agree entirely about your description. Now I will probably have to stream his Iberia again this week. I own most of the other Hortus recordings: the Chopin, Debussy, and "Dumka" mixed Russian repertoire.
Quote from: Atriod on May 05, 2024, 07:06:37 AMThere is one more pianist I am thinking of just on the tip of my tongue that I can't bring to the forefront!
It came to me, Denis Matsuev! Not always a fan of his solo recordings as he can be brash, I have greatly liked him in every concerto I've heard him in. Possibly (would require some real thought put into it) the best performances of Rach's two middle concerti for digital era recordings. Phenomenal Tchaikovsky, Prokofiev, and Schehedrin as well. A pianist that seems to know what he is good at and mostly sticks with it.
Quote from: Hobby on April 28, 2024, 05:12:54 AMAt the start of this it was proposed that wish-lists for new recordings by the artists would illuminating. Todd often did this in his illuminating Asian Invasion thread.
For Steven Osborne I would love to hear some or all of the following
-Beethoven Op 31 sonatas
-Late Schubert sonatas - I've heard him play D 959 and D 960 live and they were really good interpretations
-Schumann Fantasie - one of my favourite pieces - I just listened to YES version which is magical, despite slightly overlong pauses in first movement but a definite YESSS!!
-Liszt Sonata and Annees de Pelerinage, both among my favourite pieces
-Messiaen Quartet for the End of Time, which I've heard him play live twice. He is a leading Messiaen interpreter.
He played the Messiaen in Schwetzingen in 2008 in a concert with the Ravel trio. I can let you have a recording if you want.