Now listening to Danil Trifonov, the best of the "youngsters" IMO
His Carnegie debut recital of 2013.
From the DG jacket:
The main programme of his Carnegie debut recital presents
the quintessence of the tradition to which he is heir:
Chopin’s 24 Preludes op. 28 (1839), Liszt’s Sonata in
B minor (1854) and Scriabin’s Piano Sonata No. 2
“Sonata-Fantasy” (1897), a chain of Romantic works
with a kindred spirit, by composers who were themselves
all piano virtuosos in their own right.
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Now listening to Rameau keyboard suites, Angela Hewitt.So fine.In fact she is one of my favorites, so listenable.Faure, Back, Beethoven, Liszt, Chopin, Debussy, Couperin, Chabrier,Schumann + many duets and trios
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Now listening to Andrei Diev, piano, "The Fantasies"which includes Beethoven, Mozart, Chopin and SchumannsuperbFirst heard of Diev from his recordings of Scriabin in a huge collection (1.50 GB) that also includes Ashkenazy, Weissenberg, Richter, Barenboim conducting Chicago SO, and others. Also love his Rachmaninov Preludes, 1993 Rossijsky instrument, Moscow,produced by Sonopress GmbH GermanyDiev has a youtube channel, mostly Mozart https://www.youtube.com/user/AndreiDiev |
Many thanks for recommending Imogen Cooper. I was never a big fan of Schumann or Brahms, but her recordings are superb.
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newbee and schubertme tooi love radu lupu, have his complete decca compilation, it is 10 cds of beethoven, brahms, schubert and schumann
also his 2 cds of great pianists series, which also includes grieg
+ some mozart that is included in some Perahia recordingsI am also a big fan of Maria Joao Pires, her chopin nocturnes are my fav, also love her Mozart Sonatas, as well as several Schubert recordingsincluding duets with Ricardo Castro, and her "great pianists" cds.
Appreciate Moravek tooThe only Goode recording I have is Brahms clarinet sonata,
duet with Stolzman. Will have to look for more.
Angelich and Cooper are new to me, thanks for the tip
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So I downloaded some Angelich, and like it very much.But there was a real gem in one of the downloads, i.e., Marietta Petkova.She plays the Rachmaninoff Preludes as well as anyone I ever heard.Here is a review from Amazon:
Before I
heard this remarkable recording, I had never even heard of Marietta
Petkova! She has made quite a few recording for the somewhat obscure
Doron and Challenge Classics labels, but not so much as a “whisper” of
her incredibly beautiful and felicitous touch, unforgettable mastery of
both pedaling and rubato and searing interpretive penetration have ever
reached me.
I have heard no other recordings of the C-sharp minor,
B-flat minor, G major and B minor Preludes that have simply moved me to
tears and distraction as quickly and decisively as these have:
phenomenally gorgeous and other-worldly in every respect.
That this
recording is not more widely known and appreciated is simply criminal
and speaks volumes about the true state of present “perks under the
table ” musical criticism and the “money and glamour first” recording
industry in general.
I have now listened to these discs 5 times
through, with the greatest joy and satisfaction, and I cannot for my
life understand how such an incredibly and beautifully talented
Bulgarian pianist - gifted from above with musical intelligence and
insight the equal of (and even surpassing!) Richter, Ashkenazy and
Osborne – could come to be so neglected and even unappreciated?
You
have my absolute assurance that one listen ALONE will suffice to lift
this improbably triumphant tour de force to the level of “first choice”
in your collection of illustrious Rachmaninov Prelude recordings.
Wholeheartedly recommended!
https://www.amazon.com/Rachmaninov-Etudes-Tableaux-Preludes-Sergei-Rachmaninoff/dp/B0000713BH |
Have you heard Alexander Melnikov?His Shostakovich Preludes are a treasure.He has also recorded on period instruments.Richter was his mentor (though not his teacher).
Wiki says:"
Melnikov’s recording of the complete Preludes and Fugues by Shostakovich
was awarded the BBC Music Magazine Award, Choc de classica and the
Jahrespreis der Deutschen Schallplattenkritik. In 2011, it was also
named by the BBC Music Magazine as one of the “50 Greatest Recordings of
All Time.” Additionally, Melnikov’s discography features works by
Brahms, Rachmaninoff and Scriabin.
"
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and yes, I am big fan of
Nikolayeva, well aware of her closeness to Shostakovich.I have lots of her prizewinning Bach, also Beethoven, Schumann, Prokofievand of course the Shostakovich preludes and fugues (which you mention).
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I have been listening to
Anna Gourari, Russian pianist So far, two recordings:Visions Fugitive
"Visions fugitives, Gourari’s second ECM release, showcases the
intense beauty of her sound in Prokofiev’s title work, a set of 20
“fleeting visions” whose moods swing from lyrical to sardonic, grotesque
to calm, melancholy to boisterous, nostalgic to insistent, and back
again. The album also features Medtner’s “Fairy Tale in F minor”, from
one of his sets of skazki – tales of musical figments, of melodies and
harmonies, rhythmic profiles and altered chords, shapes and gestures and
atmospheres. Then there is Chopin’s “Sonata No. 3 in B minor”, which
encompasses not only a Beethoven-inspired opening movement but also a
Largo that’s like a funeral song, with a melodic poignancy that
justifies and even necessitates some extraordinary harmonic
progressions."
Desir"
The album “Désir”, released on Decca, presents works by Alexander Skryabin and Sofia Gubaidulina." I like her very much, my preferred sort of music.Description on her website and in wiki:
„She plays Beethoven’s third Piano Concerto with a rapt intensity.
Right at the beginning she achieves a small miracle … a few chords,
woven like a curtain about to go up on a quiet paradise in waiting. She
performs the piece with a restrained voice, as if telling a story. She
is reminiscent of the young Clara Haskil. This is how Anna Gourari won
the Clara Schumann Competition.“ Thus Die Zeit reported the final
concert of a competition in which Anna Gourari was awarded first prize
by a distinguished jury including Martha Argerich, Joachim Kaiser,
Vladimir Ashkenazy, Nelson Freire and Alexis Weissenberg, whom she had
won over by the power of her „almost mystical playing“. http://gourari.com/biography-en/ |
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Any Marcelle Meyer fans here?
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During 2012 many Debussy recitals were played all over the world, but do you know who played the first all-Debussy recital ever?
Marcelle Meyer (1897-1958) was a major figure in the creation of new
music from her participation in Erik Satie’s Parade in 1917 until her
early death in 1958. She championed the works of Satie, Ravel, Debussy
and Stravinsky, as well as the French Group of Six composers (Les Six),
all of whom she knew personally. Her fluid phrasing, great dynamic range
and lovely tone are just three of the hallmarks of her rare and
individual playing.
“Marcelle
Meyer was, without a doubt, one of the most important pianists of the
20th century. She was a woman of tremendous influence. The favourite
pianist of Les Six, she is featured as the central figure in a portrait
of that group and Jean Cocteau by Jacques-Emile Blanche. She played the
private premiere of La Valse with Ravel at the other piano, and worked
with Debussy himself on his Préludes and gave the first ever all-Debussy
recital. When Stravinsky met her, he said, “Ah yes, Ravel spoke to me
about you,” and she subsequently performed in the premiere of Les Noces,
and Petroushka, without rehearsal and completely to the composer’s
satisfaction. Milhaud and Poulenc were among the many other composers
who respected her and with whom she performed. Given her involvement in
early 20th century piano music and her much admired playing, it seems
strange that, to date, no biography has been written about this
outstanding woman.”
– Mark Ainley
In her day Marcelle Meyer was the doyenne of French piano. Cortot
admired her and she performed with the likes of Ravel and Couperin. She
had a vast repertoire that extended from the Baroque to contemporary
composers like Stravinsky and she left a considerable recorded legacy.
In 2007 EMI released an absolutely complete edition of Marcelle
Meyer’s studio recordings, remastered from scratch, utilizing the best
possible source material and modern technology.
EMI France’s 17-CD set Marcelle Meyer: Ses Enregistrements 1925-1957 has elicited great recognition in the media and has won major music awards such as Dipasson d´Or in 2008.
Debussy, Ravel and Stravinsky
Marcelle Meyer met Debussy at the premiere performance of Erik
Satie’s Parade, for which she was the pianist. To give you an idea of
the production: the mise-en-scene was by Jean Cocteau, the sets were
painted by Picasso, and the choreography was by Leonide Massine, with
orchestra conducted by Ernest Ansermet – the 20-year-old Marcelle Meyer
was the pianist. Debussy was present at this event, which took place in
1917, just under a year before he died.
Meyer is said to have been coached by the ailing Debussy in how to
play his Preludes, and certainly her playing is unique in its
combination of impressionistic colours and timing. Meyer also studied
with Ricardo Viñes, who had premiered several of the composer’s works,
and she clearly had insight into his art. While she recorded the two
books of Debussy Preludes in 1957 – a recording that was unissued until
1989 – she (had previously) also committed three of them to disc in
1947, among them an incredible “La terrasse des audiences au claire de
lune” in which time seems to stand still. Hear Meyer play this Prelude
below followed by “L’isle Joyeuse”.
https://www.pianostreet.com/blog/articles/the-trusted-magician-of-the-parisian-avantgarde-5723/There is a lot of her on youtube.The EMI collection is available from Amazon. |
I listen to a lot of classical music, mostly solo, a lot of piano, with a strong preference for the more ethereal and less bombastic.
A good intro is "Great Pianists of the 20th Century", featuring most of the best.
The best pianist of my lifetime was Sviatislav Richter, and he made hundreds of recordings. Among my favorites are the Chopin Nocturnes and the Rachmaninoff Preludes.
The greatest living pianists today are Alfred Brendel, Daniel Barenboim, and Vladimir Ashkenazy, though I suspect none are playing recitals today, but still conducting. I suspect many of you audiophiles might appreciate Barenboim's "On My New Piano", on which he plays a piano with a little different design, inspired by his visit to and playing of one of Chopin's pianos.
Other favorites, dead or alive, old and not so young:
Emil Gilels
Vladmir Sofronitsky
Claudio Arrau
Michail Pletnev
Evgeny Kissin
Grigory Sokolov
Andras Schiff
Angela Hewitt
Aldo Cicollini
Martha Argerich
All my recording are high definition (mostly flac), downloaded free torrents off the internet.
I find recordings using several sites, and I use QBitorrent to manage the downloads to my external hard drive. My first hard drive (4TB) is full, and the second one (5TB)
is now functioning.
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oops
Re: Richter, I meant to say Shostakovich Preludes.
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schubert
lucky you, seeing all those great pianists live
the only one i ever saw was ashkenazy, in a local high school auditorium, back in the days when it was difficult for him to leave USSR
I do appreciate Murray Perahia, especially his Mozart sonatas
and I share your love for Arrau, the consummate master, the total package of dignity, precision and passion held just under the surface - and the inspiration for Argerich as well
twoleftears
i will have to give Staier a listen, thanks
as for Bach, I happen to be listening to Richter playing Well Tempered Clavier at this moment
another favorite for Bach is Maria Yudina, and I will repeat a story about her that may not be true
once she played a radio concert that Stalin heard, it was a live broadcast, not recorded, and Stalin thought it was a recording and liked it so much, he ordered the recording delivered to him immediately
so the KGB went out and got Yudina and took her to a studio and made a recording of her previous recital for Stalin.
She hated stalin, whenever she received a medal, she gave it to the families of people Stalin/KGB had killed
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twoleftears
I downloaded a 10 cd collection of Staier last night, listening to it now, Scarlotti and Bach so far, harpsichord.
Excellent, thanks.
Another story?
This one was told by Edward Said, famous Columbia professor who rewrote the meaning of literary criticism, and then was drawn into advocacy for Palestinians, and throughout was the nyt critic of piano recitals/concerts in nyc, and yes he played classical piano, tho I never heard him.
Anyway, story goes
Saint Saens won some piano competition in Paris as a child, and was given a visit to Wagner in Germany. This was horse and buggy days, no trains from Paris to Germany in those days. So he arrived at Wagner's and was greeted by both Wagner and Liszt, (they were buddies, hung out together, Wagner married Liszt's daughter). St Saens sits down at the piano, and there is an orchestra score of Tannhauser Overture, which Wagner was working on. As you probably know, that is one of the most complex orchestra scores ever written. St Saens sight-transposes it to piano and plays it through.
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FTM The Andreas Staier 10 cd torrent hash I used is: e389b4a3189aaa6605b61a7930079a3d786abc81 google it, you will fink free links to download
It is 3.35 GB, excellent quality
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New book on Debussy reviewed: "
He came out of nothing, and the eruption of his genius is a complete
mystery. There was no musical tradition in his very ordinary family.
Within two years of starting to play the piano he was admitted to the
Conservatoire; and two years after that, aged 12, he was being given
prizes for his performance of a Chopin concerto. Almost from the start,
his own music was exquisitely formed, and even the earliest of the songs
and piano pieces give a lot of pleasure.
" . . . "
Walsh’s biography deliberately focuses on the music rather than the
life. Debussy was perhaps not a very likeable person, so this approach
serves to remind us what we most admire about him. Mary Garden, the
first Mélisande, said that he was a ‘very strange’ man; and it does
sometimes appear as if he had no real sympathy for, or interest in,
other people." https://www.spectator.co.uk/2018/02/debussy-the-musical-genius-who-erupted-out-of-nowhere/ |
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rvpiano
Yes I saw Ashkenazy in local high school auditorium, nice big auditorium, with a stage, not a cafeteria.
In those days he was not allowed to travel freely outside USSR.
So programs existed that sponsored a series of recitals, and USSR cooperated with some such programs. That is how Ashkenazy got here.
Later he negotiated a deal so he could live in Iceland, then he became a citizen there, and eventually as USSR loosened up more, he moved to Switzerland. Iceland seems "out of it", but in fact it was a sound choice for him, it is a short flight to many of the finest concert halls of Europe.
Richter was not allowed to travel to USA until 1960. He wrote that his greatest pleasure was cruising eastern Europe in a car (with Yamaha van, piano and Techs close behind), and holding recitals in obscure town churches on the spur of the moment.
Unfortunately I missed Richter's Carnegie Hall debut. My aunt was a graduate student at Julliard, but she could not get tickets.
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kef lover
Pogorelich, YES!
I have his "complete recording on DG" 14 cds
He gives me faith that the tradition is going forward
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Now watching/listening to
Grigory Sokolov plays Schubert, Beethoven, Rameau and Brahms – Recital at the Berliner Philharmonie, 2013
I am stunned at Sokolov's pure musicianship. No show, all go. His technique is so incredible, it seems to make room for more rhythmic nuance than I have ever heard. I have been listening to him for some years, but never saw a video of his performance before this. Remarkable how he mouths the music. Description here: http://facesofclassicalmusic.blogspot.com/2015/10/grigory-sokolov-plays-schubert.html |
Sokolov story
He plays all over the world, except in UK.
When he tried to get a visa to play in London, they required eye scans.
He told them that reminded him too much of USSR, and refused. He was born in Leningrad, USSR, which became St Petersburg, Russia (as it had been before USSR). So he knows.
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Yes I like Anderszewski, a lot
Wolfgang Amadeus Mozart 1756-1791
1] Fantasia in c minor K475 .
Fantaisie en ut mineur . Fantasie in C-Dur 13:18
Piano Sonata No. 14 in c minor K457
Sonate pour piano en ut mineur . Klaviersonate in C-Dur
2] I. Allegro 8:08
3] II. Adagio 8:44
4] III. Molto allegro 5:49
Robert Schumann 1810-1856
Fantasie C-dur, Op. 17
Fantasia in C major . Fantaisie en ut majeur
5] I. Durchaus phantastisch und leidenschaftlich vorzutragen 12:09
6] II. Mäßig, durchaus energisch 8:17
7] III. Langsam getragen. Durchweg leise zu halten 11:30
Thema mit Variationen in Es-Dur WoO 24 . Geistervariationen
Theme and Variations in E-flat major . Ghost Variations
Thème et Variations en mi bémol majeur . Variations “fantômes”
8] Thema - Leise, innig 2:02
9] Variation I 1:30
10] Variation II - Canonisch 1:38
11] Variation III - Etwas belebter 1:39
12] Variation IV 2:06
13] Variation V 2:13
TT: 79:14
Parlophone 2017
Bach English Suites 1, 3, & 5
Warner Classics
Chopin
3 Mazurkas Op 59
3 Mazurkas Op.63
Ballade No. 3, No 4,
Polonaise No 5, No 6
Mazurka Op 68 No 4
Virgin Classics
All excellent, would download more if I could find
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Anyone into Komitas?
He was an Armenian priest, composer, and pianist, nearly killed by the Turks. Much of his music is based on Armenian folk tunes. Some people today associate his music with Gurdjieff. His background included classical training in Germany.
Recordings I have are
Komitas Piano Works (Armen Babakhanian) 2006 (2 cds)
Komitas - Piano and Chamber Music 2017
KOMITAS (KOMITAS VARDAPET) (1869-1935)
PIANO AND CHAMBER MUSIC
SEVEN FOLK DANCES • SEVEN SONGS
TWELVE CHILDREN’S PIECES BASED ON FOLK-THEMES
MSHO-SHOROR • SEVEN PIECES FOR VIOLIN AND PIANO
MIKAEL AYRAPETYAN, piano
VLADIMIR SERGEEV, violin
Catalogue No.: GP720
Recording date: 15 December 2013
Recording Venue: Great Hall, Moscow State University of Culture and Arts, Russia
Komitas - Levon Eskenian, The Gurdjieff Ensemble
2015 ECM Records GmbH, Munchen
on original Armenian instruments
Zemphira Barseghian, recorded at Harvard, 1993, MEG Recordings
(piano, also other composers)
Komitas, many compositions of all sorts
Diocesan Records, NY 1970, DR-631, Distributed by Garni
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agree with these comments
now listening to casals/serkin beethoven sonatas
if i listen for them, i can hear imperfections
but then that casals tone takes over, and i am gone
I have a picture of casals thibaud and cortot in their young prime
they are so certain of themselves, and they have so much reason to be
it has not gotten any better
technically perhaps yes maybe it has
but the musical essence is total
and that is what i hear
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FTM When I listed my favorite classical pianists, somehow I left John Ogdon off the list. I especially treasure his Rachmaninoff. I am not really a big fan of Rachmaninoff, but I love the Preludes and the Corelli Variations. Also, when I mentioned Komitas, I left the best recording off the list. Grigory Sokolov plays Komitas, Six Dances for Piano on his "Live in Paris" recording, wwwnaiveclassique.com. Review of a book about Ogdon here: https://www.theguardian.com/music/tomserviceblog/2014/apr/07/john-ogdon-biography-piano-man |
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Jim 204I really love "Life", have listened to it almost every morning,and yes, that old Bill Evans tune "Peace piece" is great.
I also downloaded some Sudbin (had never heard of him),and love his Haydn.Thank you very much.J
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schubert You are fortunate to have heard such great pianists.The only great one i have actually heard live was Ashkenazy,at a high school auditorium, back in the 70's when he was stillon a leash held by USSR. Richter said he greatly preferred Haydn to Mozart, so you are in good company.
Angela Hewitt, Arrau, and Brendel are my favorites too. I have a video of Brendel, "Man and Mask" BBC (2000). Post concert in London there is a long line of beautiful bejeweled women patiently waiting for his autograph, hoping for a word from the man. Shades of Mick Jagger.He played his last recital in 2008 (age 77), but his lecture/discussion/demonstrations continued, and are so excellent, in both content and tone.Love that soft refined Viennese accent.
Alfred Brendel 2018 lecture about Beethoven last period, here: https://www.youtube.com/watch?v=XFgfRZXsYVQhttps://www.theatlantic.com/entertainment/archive/2018/08/the-writer-who-makes-perfect-sense-of-clas... |
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jim
I sent you some links to free downloads of Osborne
cheers
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jim et al
I am in full agreement with your comments about Liszt, also Rachmaninoff.
I have too many recordings of both to list here.
For Schubert, I love Rada Lupu. The Complete Decca Solo Recordings(2010) is 10 cds, about half is Schubert.
I read a story about Rachmaninoff, as composer and pianist.
His piano teach Nikolai Zverev told Rachmaninoff that he should concentrate on becoming a concert pianist because he had so much talent;
and that he should not waste his time studying composition or composing.
Eventually Rachmaninoff won a gold medal
at his conservatory
for his composition of a one act opera, "Aleko", and Zverev was on the examination committee. Zverev gave Rachmaninoff his gold watch.
Tchaikovsky attended and praised Rachmaninoff.
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I have been listening to Jenny Lin a lot lately.
Her Mompou, and her Silvestrov album "Nostalghia".
My kind of music, serene, peaceful, what they call "devotional" in some other cultures.
Highly recommended if you like that sort of music.
Also like her Stravinsky album, which I have not heretofore appreciated.
And now downloading her "Preludes to a Revolution".
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updateLin's "Preludes" album is wonderful.Also love her "Chinoiserie".
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Jim
I share your views on death of classical composition, about Rachmaninoff and Shostakovich. I download modern composers, and delete them.
I had a teacher who said "if it is not in tune, and it is not in time, then it is not music".
I also agree that Osborne's
Rachmaninov: Études-tableaux
is wonderful.
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my latest "discovery"
Victor Ryachikov plays Mikhail Glinda, Complete Piano Music (3 cd)
Ryachikov writes:
For a long time the works that Glinka wrote for piano have been considered methodical and suitable only for study at music schools. I believe this is a wrong attitude.
To the attentive listener this music is redolent with feeling and delicate nuance. It is music full of love, tenderness, expression and humour; music of elegant simplicity and nobility. When played by pupils it can often seem primitive, even pompous.
This is because it needs a simplicity and naturalness that is very difficult to
achieve. It is as difficult to play as is the music of Mozart. My primary wish is for Giinka's piano music to return to the concert stage. I have been playing this music for many years and in many parts of the world and it never fails to touch people's souls. The pieces also complement excellently the works of other great composers in a programme. A love for this music, once born, never dies. Many of the pieces featured among these recordings are little known and are recorded here for the first time.
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