What are you listening to and WHY might anyone be interested? (Vol. X)

45rpm vinyl.

cd

Little Feat - Waiting For Columbus, Live.

Ludwig van Beethoven:  Steven Isserlis (Cello), Robert Levin (Piano)

Sonata for Piano and Cello no 1 in F major, Op. 5 no 1

Sonata for Piano and Cello no 2 in G minor, Op. 5 no 2

Sonata for Piano and Cello no 3 in A major, Op. 69

Sonata for Piano and Cello no 4 in C major, Op. 102 no 1

Sonata for Piano and Cello no 5 in D major, Op. 102 no 2

Variations for Piano and Cello in G major on a theme by Handel, WoO 45 

Variations for Piano and Cello in F major on "Ein Mädchen oder Weibchen", Op. 66

Variations for Piano and Cello on Mozart's "Bei Männern", WoO 46

Sonata for Horn and Piano in F major, Op. 17 

I was not exactly thrilled when I first understood that this recording would be Fortepiano and Cello.  I was not even going to get this but then my passion (and curiosity) for this music nearly always overrules the sensibilities.  As it turns out, the bee in the bonnet that annoys me most is the ignorance of marketers possibly combined in some proportion with the arrogance of string players. 

In Beethoven's own hand, this music is titled Sonatas for Piano (Klavier) and Violoncello.  Almost without exception, cellist seem to think they are the star, front and centre, of the show and the pianist just the "accompanist."  String players along with wind players and singers in most cases seem to think this without question.  Well, in some cases, this is a true description.  In this case with Beethoven, it is absolutely not true.

Whether it is the delusions of a marketing team or not, a quick look through my library shows a maddening trend.  If it is a cellist they think most marketable then they nearly always changed the title of these works to simply "Cello Sonatas."   If it is the pianist that is most marketable they give the correct title of "Sonatas for Piano and Violoncello."  

Of course, none of this has anything to do with the music (usually).  It is just annoying to me to see such self-righteous rationalizations.  Also, it does have to do with the music when the recording is blatantly balanced incorrectly to give the spotlight exclusively to the Cello or vice versa.  These works are all about a partnership (Beethoven's intentions) between instruments which was a relatively foreign concept prior to Beethoven, however, since Beethoven was more skilled at the keyboard the piano parts are always more difficult and a slight upper hand.

What is pleasantly surprising about this recording is how nice the balance really is combined with the extraordinary capture for the recording.  I expected to be more annoyed at the choice of pairing this with the Fortepiano.  OK, so I'm still a little annoyed but that is alright.  The playing is exceptional.  Personally, I am more pleased with the "piano" part (softer portions) than with the "forte" parts (louder portions).  Yes, there is a nice and clear contrast between loud and soft (ie. forte-piano) but I find the forte end can sound strained or at least limited in what it can produce.  Maybe this is a good thing or the point but I think on a nicely set up modern grand piano the ability to produce a multitude or more variation in colour is more pleasing.  Also, the decay of each note is also more desirable on the modern instrument.  The fortepiano produces short, very clear bursts of the tone but they end very quickly.  In fast portions, I suppose this has some advantages occasionally.

So I quite like this recording or maybe I'm just more pleased with it than I expected?  It is interesting that Isserlis also acknowledges a interesting point of contention in the score and interpretation of the scherzo in the A major sonata.  I started learning this work last summer in earnest and scratched my head about this as well (the notes written as ties across the bar line along with a change of finger).  I came to the conclusion that at any speed (Allegro molto) I realized quickly that it was tricky, nay impossible, to keep a straight sense of the syncopation without changing the finger.  I needed to feel the strong beat even though I would not produce a strong or new sound.  I reasoned that maybe this is the point and the syncopation produced alone or with the cello seemed effective.  While Isserlis acknowledges that this will always be a mystery he strongly felt that since playing the note twice on a fortepiano is physically easier and possible that it made more sense to follow through with this.  I personally still enjoy that sense of expecting to hear something and realizing that Beethoven is playing with us.  Also, this makes sense in a way as this is a Scherzo too.

In my library, this recording makes sense and offers a very nice contrast to my other favourites.  It would not be my one and only recording though as I enjoy dozen of other recordings. Based on the playing and recording quality alone I would recommend this since it is remarkably pleasing in a way.  While I'm still not a fan of the fortepiano (over a modern grand) I would say this is nicely done anyway.

Given the age of this album and how long I've been listening to Phil C, it's rather odd that I only bought this CD last weekend and am now giving it a first listen.  New yet very familiar.  

Currently playing 'Mischief' by Gregson & Collister on vinyl. This was preceded by 'A Change in the Weather', also vinyl, also G&C. Owing to the convenience of streaming it's easy to forget how much more musically involving vinyl can be!

Pacifica String Quartet 

The Soviet Experience Volume 1:  String Quartets by Dmitri Shostakovich and his contemporaries

Quartet for Strings no 5 in B flat major, Op. 92 by Dmitri Shostakovich 

Quartet for Strings no 6 in G major, Op. 101 by Dmitri Shostakovich 

Quartet for Strings no 7 in F sharp minor, Op. 108 by Dmitri Shostakovich

Quartet for Strings no 13 in A minor, Op. 86 by Nikolay Myaskovsky

My two favourite string quartets from Shostakovich are probably the F-sharp minor and the c minor.  Wonderfully played and recorded.

Cover art comes from a 1931 Soviet propaganda poster entitled, "We Smite the Lazy Worker."

My copy dates from the original early 70's

Noticed that quite a few others on here rate this album so I thought I'd give it a try. On CD.

Haven't played any Bowie for a while. What better than this classic.

Ch...Ch...Ch..Ch...Changes 

Ah! Sweet! That is soooo cute!

The Little Willies "The Little Willies"

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Porcupine Tree - In Absentia 

Hi Raider

I've bought quite a few PT albums just recently but this is still my favourite 

Have you tried Steven Wilson solo albums if not you won't be disappointed. How is the new system going

First spin of the LP.  Sound Quality is very good.

Fantastic Tony, I have it on VHS. There's some Texas Flood for yeah!

Thought I'd end the evening's listened with the melodic Hotel California. I should probably research a better recording of this album. My CD is acceptable but I'm sure there are better versions to be had. 

Well, Evans is dead so we'll never nkow.

It would have been intresting if he played some classical Debussy pieces where his music was someone influenced by French impressionism.

I prefer Thibaudet's Evans CD over him playing Ravel's D Major Piano Concerto at CSO a few years ago. ( he sucked ! )