New Releases

[Brian]

There is a new Martha Argerich EMI/Warner "complete" box coming but it is just a repackaging of the two previous Argerich EMI/Warner boxes with the studio recordings and the Lugano recordings.

[JBS]

There is a new Martha Argerich EMI/Warner "complete" box coming but it is just a repackaging of the two previous Argerich EMI/Warner boxes with the studio recordings and the Lugano recordings.

I was wondering about that.

[Bachtoven]

Since he includes his own interludes within each sonata, this is probably not for purists, but at the very least, the sound will be great! Samples and more information here: https://www.nativedsd.com/product/euddr2408-mozart-piano-sonatas/

[Mandryka]

Since he includes his own interludes within each sonata, this is probably not for purists, but at the very least, the sound will be great! Samples and more information here: https://www.nativedsd.com/product/euddr2408-mozart-piano-sonatas/

I only came across Colom for the first time maybe a couple of weeks ago, when I found a special Chopin B minor sonata - I'll definitely check this Mozart out, thanx for mentioning.

[Florestan]

I only came across Colom for the first time maybe a couple of weeks ago, when I found a special Chopin B minor sonata

Would it be this recording? If yes, then the Liszt b minor sonata is no less special.

[Madiel]

Interludes between movements? Does he think that Mozart wasn't able to consider how the transition would sound, and needs some help?

[Mandryka]

Since he includes his own interludes within each sonata, this is probably not for purists, but at the very least, the sound will be great! Samples and more information here: https://www.nativedsd.com/product/euddr2408-mozart-piano-sonatas/

[Mandryka]

Would it be this recording? If yes, then the Liszt b minor sonata is no less special.

I'll check the Liszt next time I'm in the mood for the music. If it's as imaginative as the Chopin then it'll be an interesting experience.

[Bachtoven]

Interludes between movements? Does he think that Mozart wasn't able to consider how the transition would sound, and needs some help?

Did you click on that link? The site explains it as "He intersperses the pieces with his own interludes, which play with motifs, anticipate themes, and introduce new ornamentation, evoking the spirit of improvisation from Mozart's time."

[Bachtoven]

November 1st.

[Madiel]

Did you click on that link? The site explains it as "He intersperses the pieces with his own interludes, which play with motifs, anticipate themes, and introduce new ornamentation, evoking the spirit of improvisation from Mozart's time."

I did click on the link. Before I commented.

Quite frankly I don't consider that to be an accurate invocation of how improvisation actually worked. I'm not aware of any evidence that doodling between movements of a published work was a thing.  Contrast that to Bavouzet including cadenzas in certain Haydn sonatas.

[Mandryka]

At the end of a movement I think there are just three choices

1. Leave a silence (how long?)
2. Play attacca into the nect movement
3. Improvise an arch

Whatever you do, there's a caesura.

As far as I know Mozart didn't say anything about which one of these he preferred, he left it at the discretion of the performer.

[prémont]

3. Improvise an arch
As far as I know Mozart didn't say anything about which one of these he preferred, he left it at the discretion of the performer.

What leads you to think that Mozart may have contemplated this solution?

[Florestan]

At the end of a movement I think there are just three choices

1. Leave a silence (how long?)
2. Play attacca into the nect movement
3. Improvise an arch

Whatever you do, there's a caesura.

As far as I know Mozart didn't say anything about which one of these he preferred, he left it at the discretion of the performer.

Well, he probably did mostly (1), for as long as the applause lasted (back then it was customary to applaud after each movement, or even during a movement --- and if hadn't heard any applause, he would have surely thought he did something wrong). He may have done (2) too, but if he did, he never specified it in the score. I doubt he, or any of his contemporaries, ever did (3).

[Mandryka]

Well, he probably did mostly (1), for as long as the applause lasted (back then it was customary to applaud after each movement, or even during a movement --- and if hadn't heard any applause, he would have surely thought he did something wrong). He may have done (2) too, but if he did, he never specified it in the score. I doubt he, or any of his contemporaries, ever did (3).

Well there is an aesthetic problem of how to manage the caesura between movements. I suppose a historian could ask how 18th century aesthetics managed transitions not just in music (where maybe little is known) but also in architecture and furniture design. Did they present transitions abruptly, or did they create an arch?

[prémont]

Drawing parallels between furniture and music may be somewhat audacious.

[ritter]

Well, I suppose that in an age when compositions were fully written out (except for cadenzas or ornamentations that were left to the discretion of the performer), it could be thought that if an "arch" were expected, it too would have been written out in full.

Your premise appears to br that a pause between movements is awkward or presents an "aesthetic problem". For whom? For us in the 21st century, for audiences in the 18th century, or for one particular listener? I for one, see nothing strange in that (as I am used to it), and one could think that 18th century composers didn't either (or they wouldn't have written works with separate movements).

[ritter]

Drawing parallels between furniture and music may be somewhat audacious.

Erik Satie apparently disagreed with this statement....
 

[Florestan]

Drawing parallels between furniture and music may be somewhat audacious.

We should see what Adorno and Derrida say on the issue. 

[Todd]

Colom has been doing his thing for years.  People obsessed with propriety definitely should not spend time or money listening to his recordings.