What are you listening to and WHY might anyone be interested? (Vol.IX)
Posted by: Richard Dane on 01 January 2013
With 2013 upon us, it's time to start a fresh thread. I've gone back to an earlier thread title because often the "why" is the most interesting part of the post.
Anyway, links:
Volume VIII: https://forums.naimaudio.com/di...nt/12970396056050819
Volume VII: https://forums.naimaudio.com/di...6878604287751/page/1
Volume VI: https://forums.naimaudio.com/di...ent/1566878604097229
Volume V: https://forums.naimaudio.com/di...ent/1566878605140495
Volume IV: https://forums.naimaudio.com/di...ent/1566878605795042
Volume III: https://forums.naimaudio.com/di...ent/1566878607309474
Volume II: https://forums.naimaudio.com/di...ent/1566878606245043
Volume I: https://forums.naimaudio.com/di...ent/1566878607464290
Hello Haim,
Tempted to get this disc. I really like her Brahms interpretation. I do feel that the prelude in b-minor could do with a slightly faster tempo though. See link below. I heard this performed live in Geneva by Sokolov and it is truly a wonderful piece of music.
http://www.youtube.com/watch?v=vXbBOWlkR9g
Regards,
Mark
Hi Mark,
I agree with you about the Prelude in B Minor. A fantastic piece of music that I also hold in high regard. Siloti's transcription of Bach's Adagio from the Sonata for Violin and Keyboard in F Minor is another winner for me too but I don't know if I've ever heard any recording of it.
The original Prelude was in E minor and was from the Clavier Büchlein für Wilhelm Friedemann Bach. The problem for me is that I've never heard a totally satisfying rendition of the Prelude. I've only ever heard Sokolov, Gourari, and Gilels. Gilels comes the closest for me to my preferences.
You say you like the quicker tempo? Referring to Siloti's directions for tempo (50 per half note) and then listening to the above three pianist would make you believe they are all pokers. Once in a while for an adrenalin boost I try to follow Siloti which is significantly faster than even Sokolov (maybe 20 or 25% faster?). Based on these two tempo extremes alone you get totally different character of the piece either way. It's interesting to do this once in a while but I find the slower tempo more suitable.
There is a lot of Russian tradition around how this piece should be played and so I'm surprised at how three Russian pianists can delivery three very different results.
Gourari - I applaud for having the most colour. The music calls for gentle swells - rising and falling while slowly build to a climax - and then dying away. Trouble is, she's OK until 1/4 way into the second pass and then I think she loses direction. Overall, I'm not convinced by her reading. Too many weak points and inconsistencies. She rolls her left hand in both passes.
Sokolov - well, I'm surprised by this but I'm not convinced by his reading overall either. While wonderfully focused and unerring I find it to overbearing or strong in places where it shouldn't be and with little variation throughout. It would have been better for me had he been able to convey a real sense or difference between piano and forte and everything in between. By the way, his timing is a little quicker for a reason as he drops two bars off before returning on the second pass. He also plays the left hand chords generally solid for both passes.
Gilels - I think he is the closest in tempo and style to what I would do. Gilels is definitely more refined (technically and interpretively) than either Sokolov or Gourari. Gilels follows the Russian tradition most closely and plays the left hand chords solid on the first pass and rolls them on the second pass. You want to mainly hear the sixteeth-note figuration on the first pass and the inner melody voice (single note) on the second pass. Also, on the second pass, starting mid-bar (at about 2'-29") listen how that final D signals the climax and he changes the character at the same time by halving the speed of his left hand roll and just floating that middle voice perfectly above everything else as it descends all the way down through a ritenuto to the end. Just magical, extraordinary and sublime in my opinion.
https://www.youtube.com/watch?v=Yu06WnXlPCY
A Julian H. recommendation, and sounds exactly like being in a french cafe! Very relaxing...
Pires' very introspective rendering of the impromptus. I like artists who impose themselves on the music as much as I do artists who let the music speak for itself. Even more than in Chopin, Pires is of the former category, but there is never any doubt that everything she does is in the interest of the song she is singing. Worthy place next to reference versions by Perahia and Zimerman.
Cheers,
EJ
EJ
On Spotify:-
Not a huge Bowie fan but an OK album.
Yo La Tengo - Summer Sun
On CD:-
Riverside - Anno Domini High Definition
Original 1962 UK Mono issue on London Label.
Graham.
I agree with you about the Prelude in B Minor. A fantastic piece of music that I also hold in high regard. Siloti's transcription of Bach's Adagio from the Sonata for Violin and Keyboard in F Minor is another winner for me too but I don't know if I've ever heard any recording of it.
The original Prelude was in E minor and was from the Clavier Büchlein für Wilhelm Friedemann Bach. The problem for me is that I've never heard a totally satisfying rendition of the Prelude. I've only ever heard Sokolov, Gourari, and Gilels. Gilels comes the closest for me to my preferences.
You say you like the quicker tempo? Referring to Siloti's directions for tempo (50 per half note) and then listening to the above three pianist would make you believe they are all pokers. Once in a while for an adrenalin boost I try to follow Siloti which is significantly faster than even Sokolov (maybe 20 or 25% faster?). Based on these two tempo extremes alone you get totally different character of the piece either way. It's interesting to do this once in a while but I find the slower tempo more suitable.
There is a lot of Russian tradition around how this piece should be played and so I'm surprised at how three Russian pianists can delivery three very different results.
Gourari - I applaud for having the most colour. The music calls for gentle swells - rising and falling while slowly build to a climax - and then dying away. Trouble is, she's OK until 1/4 way into the second pass and then I think she loses direction. Overall, I'm not convinced by her reading. Too many weak points and inconsistencies. She rolls her left hand in both passes.
Sokolov - well, I'm surprised by this but I'm not convinced by his reading overall either. While wonderfully focused and unerring I find it to overbearing or strong in places where it shouldn't be and with little variation throughout. It would have been better for me had he been able to convey a real sense or difference between piano and forte and everything in between. By the way, his timing is a little quicker for a reason as he drops two bars off before returning on the second pass. He also plays the left hand chords generally solid for both passes.
Gilels - I think he is the closest in tempo and style to what I would do. Gilels is definitely more refined (technically and interpretively) than either Sokolov or Gourari. Gilels follows the Russian tradition most closely and plays the left hand chords solid on the first pass and rolls them on the second pass. You want to mainly hear the sixteeth-note figuration on the first pass and the inner melody voice (single note) on the second pass. Also, on the second pass, starting mid-bar (at about 2'-29") listen how that final D signals the climax and he changes the character at the same time by halving the speed of his left hand roll and just floating that middle voice perfectly above everything else as it descends all the way down through a ritenuto to the end. Just magical, extraordinary and sublime in my opinion.
https://www.youtube.com/watch?v=Yu06WnXlPCY
Thanks very much for the explanations and the link to the Gilels performance. Agreed this is magical. I like the Rachmaninov performances on there. Do you have any discs to recommend there ? Perhaps the following?
What do you think of the performances from Historic Russian Archives (brillaint classics). I particularly like the Hammerklavier sonata in the Beethoven set.
As I said on another thread though, I have seen Sokolov perform several times now and I am mostly drawn into what ever he is playing. I had a similar experience with Lupu playing Schuberts D845 sonata (a piece very close to him) and Papillons. Less so with other piano recitals.
I found a couple of CDs with the F-minor sonata for keyboard and violin transcription on Naxos and some other label. Do you have any recommendations here.
Regards,
Mark
On Vinyl
Original Vinyl
Graham
On vinyl.
