Bach: Keyboard Works

[Masolino]

Quote:

Originally Posted by Bunnyears /img/forum/go_quote.gif Actually it is very interesting. I just find that sometimes the fingers are so fast and the note decay from the pedal is so slow, that some things happen in a speed blur. I don't recommend his Beethoven pcs, though, but that's as much a reflection of the Karajan aesthetic which is just too ott in those.

Well it will be quite a while before I would have the money and inclination to invest on another Bach (or Beethoven) recording using the modern piano. Maybe Weissenberg should have recorded his Bach using a "doctored" piano like Gould's to avoid blurry bass notes. Or better still a harpsichord or a fortepiano. For example, Pierre Hantai does some lightening fast playing in his WTC1 (Mirare) and I don't recall hearing a blur whatsoever. I have not touched a harpsichord ever in my life, but if one can actually fly and "speed" on such keyboards, I think the ultra fast tempi favored by some period instrument Bach players are hardly objectionable.

 

[K2Grey]

There is a YouTube video of Gould playing the 6th Partita. It is not exactly the same as the recording (at least not the recording that I have, and I don't remember him recording it multiple times), but is is very nice and is actually what got me to buy the Partitas in the first place.

 

[Masolino]

Quote:

Originally Posted by K2Grey /img/forum/go_quote.gif There is a YouTube video of Gould playing the 6th Partita. It is not exactly the same as the recording (at least not the recording that I have, and I don't remember him recording it multiple times), but is is very nice and is actually what got me to buy the Partitas in the first place.

Thanks for the tip and yes Gould recorded the Partitas only once afaik. (OT) Talking about youtube, there are also footages of a 40-minute Boris Berezovsky on view also.

EDIT: The Gould snippets are good as is the performance. Some rather unwarranted fawning
comments such as "he teaches us that the piano is superior to the harpsichord," however ought
to be ignored. ThatGould plays the opening toccata "molto misterioso" as if it were a
Brucknerian movment now strikes me almost as quaint but I see that's how many prefer to hear
this music. Honestly I don't recall his CD recording being as quirky also, which was made
admittedly quite a bit earlier in his career.

 

[anton2]

Another great Bach perfomer is Keith Jarrett. His version of Wohltemperierte Klavier is a constant source of pleasure and inspiration.
Buch I is played at the piano, while Buch II is with cembalo. (or the other way 'round).
He also also perfomed other 'minor' works, like the flute sonatas (with Michala Petri - a blast)
Just my 2p

 

[Masolino]

Quote:

Originally Posted by anton2 /img/forum/go_quote.gif Another great Bach perfomer is Keith Jarrett. His version of Wohltemperierte Klavier is a constant source of pleasure and inspiration. Buch I is played at the piano, while Buch II is with cembalo. (or the other way 'round). He also also perfomed other 'minor' works, like the flute sonatas (with Michala Petri - a blast) Just my 2p

Jarrett's Bach strikes me as extremely "quirk-free" and that coming from a famed Jazz improviser is rather bizzare to say the least. My own reactions, of course.

 

[Bunnyears]

Quote:

Originally Posted by anton2 /img/forum/go_quote.gif Another great Bach perfomer is Keith Jarrett. His version of Wohltemperierte Klavier is a constant source of pleasure and inspiration. Buch I is played at the piano, while Buch II is with cembalo. (or the other way 'round). He also also perfomed other 'minor' works, like the flute sonatas (with Michala Petri - a blast) Just my 2p

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Jarrett's Bach strikes me as extremely "quirk-free" and that coming from a famed Jazz improviser is rather bizzare to say the least. My own reactions, of course.

"Quirk-free"? I guess that's one way of describing it.

Although Bach may have once said that all that was necessary to play the harpsichord was to put your fingers on the right keys at the right time, Jarrett's French Suites is proof that the old master was being modest. As an experiment, listen to the clips of Rousset at JPC and compare them to the clips of Jarrett at Amazon US. I think that is all you will need to do to see how a harpsichord sounds when it's played by someone who really knows how to fully exploit the instrument.

 

[Masolino]

Quote:

Originally Posted by Bunnyears /img/forum/go_quote.gif "Quirk-free"? I guess that's one way of describing it.

Or "legato-free," "uninflected"? Anyway, many thanks for the audio examples, and I totally agree with you regarding Jarrett vs. Rousset. The Rousset also has the advantage of an airy, open recorded sound. No, the harpsichord needs not sound like a sewing machine, which its detractors so love to bring up for comparison.

 

[Bunnyears]

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Or "legato-free," "uninflected"? Anyway, many thanks for the audio examples, and I totally agree with you regarding Jarrett vs. Rousset. The Rousset also has the advantage of an airy, open recorded sound. No, the harpsichord needs not sound like a sewing machine, which its detractors so love to bring up for comparison.

Rosalyn Tureck, who I love on piano, also produced a totally forgettable harpsichord recording of Bach, so it's not just Jarrett who has problems. The harpsichord needs such a different technique for touch as well as the technical aspects of the stops that it's not a given that every pianist can play one creditably. And that's not even getting into the ornamentation and trills, the execution of which are so critical to producing the music. (sigh)

 

[Masolino]

Quote:

Originally Posted by Bunnyears /img/forum/go_quote.gif Rosalyn Tureck, who I love on piano, also produced a totally forgettable harpsichord recording of Bach, so it's not just Jarrett who has problems. The harpsichord needs such a different technique for touch as well as the technical aspects of the stops that it's not a given that every pianist can play one creditably. And that's not even getting into the ornamentation and trills, the execution of which are so critical to producing the music. (sigh)

Indeed I know of few musicians who can claim to be a virtuoso or stylish player on both the modern piano and the harpsichord. Robert Levin may be one of them, but I have not heard any of his harpsichord playing (such as his complete WTC on Hanssler).

 

[scompton]

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Indeed I know of few musicians who can claim to be a virtuoso or stylish player on both the modern piano and the harpsichord. Robert Levin may be one of them, but I have not heard any of his harpsichord playing (such as his complete WTC on Hanssler).

I've listened to Levin's English Suites and WTC. While I'm no connoisseur of harpsicord, I loved the English Suites. The versions I have are all on piano, mostly on the Great Pianists series, and I liked Levin's versions better. I'm not as much a fan of the WTC, but Levin's was interesting since it mixed harpsichord, clavichord, and organ.

 

[Masolino]

Quote:

Originally Posted by scompton /img/forum/go_quote.gif I've listened to Levin's English Suites and WTC. While I'm no connoisseur of harpsicord, I loved the English Suites. The versions I have are all on piano, mostly on the Great Pianists series, and I liked Levin's versions better. I'm not as much a fan of the WTC, but Levin's was interesting since it mixed harpsichord, clavichord, and organ.

Too bad Levin did not record the English Suites on a harpsichord, but then even if he did, he probably can't "outstyle" the French bunch (including a couple of American expats: Skip Sempe, Kenneth Weiss) anyway who arguably play the best harpsichord legatos at the moment.

My general reaction to Levin's interpretations (in pretty much everything) is "remarkably different." His approach to familiar repertories always strikes me as very intelligent and innovative. I am usually convinced after a few listenings. Occasionally not.

 

[scompton]

Boy was I confused by your reply until I looked up the CDs. My local library has the entire Edition Bachakademie. About 6 month ago, I checked out one volume of the harpsichord concertos, the English Suites, and one volume of the WTC. For some reason I misremembered the English Suites as being played on harpsichord.

I'm very lucky with my local library. They also have the DG Complete Beethoven , the 90's Philips Complete Mozart, and at least one version of most operas that you might want to hear. They have more opera than rock or pop music and at least twice as much classical of one kind or another than of all other genres combined. They even have about 100 opera DVDs. It's a great resource and has caused me to spend a lot of money, fortunately on CDs I already know that I'll like.

 

[Bunnyears]

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Too bad Levin did not record the English Suites on a harpsichord, but then even if he did, he probably can't "outstyle" the French bunch (including a couple of American expats: Skip Sempe, Kenneth Weiss) anyway who arguably play the best harpsichord legatos at the moment. My general reaction to Levin's interpretations (in pretty much everything) is "remarkably different." His approach to familiar repertories always strikes me as very intelligent and innovative. I am usually convinced after a few listenings. Occasionally not.

Hi Masolino,

Are you familiar with his Beethoven piano concertos? The 4th especially can be described as "remarkably different." I was wondering what you think of them.

Btw, I've been giving the Schoonderwoerd quite a bit of play lately, and enjoying it more and more. It's something that I had to grow into, but do thank you very much for the recommendation.

 

[Masolino]

Quote:

Originally Posted by Bunnyears /img/forum/go_quote.gif Hi Masolino, Are you familiar with his Beethoven piano concertos? The 4th especially can be described as "remarkably different." I was wondering what you think of them. Btw, I've been giving the Schoonderwoerd quite a bit of play lately, and enjoying it more and more. It's something that I had to grow into, but do thank you very much for the recommendation.

Dear Bunnyears,

I once was familiar with Levin's B4 but haven't listened to it for months now. The fact that the disc is many thousand miles away from me doesn't help either.

I think I might have to rely on your impressions in this case.

Based on my more recent experiences with his performances (eg. Mozart sonatas on DHM) I happen to think he is a musician of great originality who prefers to rethink (out loud) everything he does, even if that sometimes means to have "outlandish" ideas that go against people's expectations.

You are welcome re: the Schoonderwoerd Beethoven. Like Schoonderwoerd, I do find Levin a bit on the "dorky" (I hope I am using the right word) side as a performer also, and consequently it may take a while before one "gets" their interpretation. Compared to his Mozart (completions among other things) Levin's Bach seems relatively unknown or unheard. I wonder why this is given the very positive impressions from those who actually have listened to it (eg. scompton's post above).

 

[Bunnyears]

Quote:

Originally Posted by Masolino /img/forum/go_quote.gif Dear Bunnyears, I once was familiar with Levin's B4 but haven't listened to it for months now. The fact that the disc is many thousand miles away from me doesn't help either. I think I might have to rely on your impressions in this case. Based on my more recent experiences with his performances (eg. Mozart sonatas on DHM) I happen to think he is a musician of great originality who prefers to rethink (out loud) everything he does, even if that sometimes means to have "outlandish" ideas that go against people's expectations. You are welcome re: the Schoonderwoerd Beethoven. Like Schoonderwoerd, I do find Levin a bit on the "dorky" (I hope I am using the right word) side as a performer also, and consequently it may take a while before one "gets" their interpretation. Compared to his Mozart (completions among other things) Levin's Bach seems relatively unknown or unheard. I wonder why this is given the very positive impressions from those who actually have listened to it (eg. scompton's post above).

Hi Masolino,

I don't precisely know what you mean by "dorky." Do you mean he looks like a nerd when performing or that his interpretations are the musical equivalent of prosy, boring and over-informative? Dorks are usually clumsy and maladroit, but I would never say that about Levin's playing no matter how "different" the interpretation.

(using the dorkiest of smilies here.)

I'll have to look up his Bach. Meanwhile, I've just found a copy of the Tafelmusik's Mozart 6 Symphonies after Serenades.

Still looking for a period recording of the Archduke Trio and Kakadu Variations (almost had the Castle Trio's recording although I'm told London Fortepiano Trio did a better job).