|
|
|
bissie said:
Yes, it is indeed speculative. So why speculate at all?
. . .
So why not stick to what we know? Perhaps Beethoven would have been EVEN more happy with a synthesizer or a computer programme. And perhaps not.
The way Brautigam plays and what he plays on is certain. I like certainty.
Robert
Sorry, Robert - we've gotten onto a topic which I can't let go. ;-)
Why speculate at all? I couldn't agree more! So who was speculating as to how Beethoven might have written for the modern grand "in a completely different way"? Il n'était pas moi!
Another thing we know about (besides Beethoven's own frustration with the keyboard instruments of his own time - which I've already mentioned) is that the instrument listed FIRST in many of the early keyboard works (even as far as Op. 27!) is NOT the fortepiano ("piano-forte"), but the harpsichord ("clavecin" or "clavicembalo")! Viz,. . .
Opus 2 sonatas, published in 1795: “Pour le Clavecin ou Piano-Forte”
Opus 5 sonatas, published in 1797: “pour Le Clavecin ou Piano = Forte avec un Violoncelle”
Opus 6 sonata (four-hands), published in 1797: “Pour le Clavecin ou Forte-Piano”
Opus 7, published in 1797: “pour le Clavecin ou Piano-Forte”
Opus 10, published in 1798: “pour le Clavecin ou Piano Forte”
Opus 13 sonata, published in 1799: “Pour le Clavecin ou Piano-Forte”
. . .
Opus 26 sonata, published in 1802: “pour le Clavecin ou Forte-Piano”
Opus 27 sonatas, published in 1802: “per il Clavicembalo o Piano-Forte”
And so on - I'm sure you've caught my drift. BTW, how do those "fat chords" sound on the harpsichord? Not too good, I imagine. And I admit I'm not too anxious to hear a harpsichord performance of the Moonlight Sonata. ;-)
In any case, I'm glad that we both agree that certainty is better than speculation! (And just to reiterate, I am not impugning Mr. Brautigam's abilities as a performer - for those who can tolerate the sound of the fortepiano, he presents a fine case for that choice - but folks don't need me to tell them that!)
|
|
|
Post by srl1 December 19, 2014 (3852 of 4131)
|
|
Chris from Lafayette said:
And just to reiterate, I am not impugning Mr. Brautigam's abilities as a performer - for those who can tolerate the sound of the fortepiano, he presents a fine case for that choice - but folks don't need me to tell them that!)
Come on, Chris. How about admitting that some of us might "enjoy" the sound of a fortepiano and not just "tolerate" it? :)
|
|
|
|
|
|
srl1 said:
Come on, Chris. How about admitting that some of us might "enjoy" the sound of a fortepiano and not just "tolerate" it? :)
Hi, Spencer - Well. . . OK - as long as my enjoyment of a harpsichord in the Moonlight Sonata is not infringed! ;-)
|
|
|
Post by zeus December 19, 2014 (3854 of 4131)
|
|
srl1 said:
Come on, Chris. How about admitting that some of us might "enjoy" the sound of a fortepiano and not just "tolerate" it? :)
I wonder whether this is simply a case of too loud playback levels. Same for harpsichord. I wouldn't be without Brautigam's set, alongside any number of modern piano renditions.
|
|
|
Post by aoqd22 December 20, 2014 (3855 of 4131)
|
|
Robert
As the festive period is nearly upon us hope I may use this medium as a way of thanking all of those at BIS for enriching my musical life during the past year.
The highlight for me was the arrival of Vol 7 of Ronald Brautigam’s take on Mozart's Piano concertos Mozart: Piano Concertos Vol. 7 - Brautigam, Willens where at last we get a Piano Concerto 21 second movement that's in my opinion nearer to the intended 'Andante' than any other recording I have bought (or performance I have heard) over the years.
I do buy recordings issued by other labels but those from BIS continue to occupy more shelf (and hard disc space) than any other publisher.
So into 2015 probably another challenging trading year for classical music producers some of whom seemed to lose the plot a few years ago. All I can say is I am truly grateful for what I have received and hope for more of the same in the months ahead.
All the best for 2015!
pb
|
|
|
Post by bissie December 21, 2014 (3856 of 4131)
|
|
aoqd22 said:
Robert
As the festive period is nearly upon us hope I may use this medium as a way of thanking all of those at BIS for enriching my musical life during the past year.
The highlight for me was the arrival of Vol 7 of Ronald Brautigam’s take on Mozart's Piano concertos Mozart: Piano Concertos Vol. 7 - Brautigam, Willens where at last we get a Piano Concerto 21 second movement that's in my opinion nearer to the intended 'Andante' than any other recording I have bought (or performance I have heard) over the years.
I do buy recordings issued by other labels but those from BIS continue to occupy more shelf (and hard disc space) than any other publisher.
So into 2015 probably another challenging trading year for classical music producers some of whom seemed to lose the plot a few years ago. All I can say is I am truly grateful for what I have received and hope for more of the same in the months ahead.
All the best for 2015!
pb
Well, Philip,
that's one quote I do like to retain. Have spread it to all the BISsies.
Thank you genuinely much. Comments such as this does give added strength to continue to produce SACD:s, in spite of the diminishing physical sales.
Here's to you and the next year!!
Robert
|
|
|
Post by diw December 21, 2014 (3857 of 4131)
|
|
From the tidbits of information you give out on this thread, I think it's safe to say that I will be purchasing a number of BIS 2015 SACD releases.
|
|
|
|
|
|
Well, for sure, Robert. Happy holidays! The Sibelius Kamu set is on my list to buy as soon as it comes out! Okku Kamu is a great conductor.
|
|
|
Post by Simon V. December 21, 2014 (3859 of 4131)
|
|
Well said, Philip.
As long as BIS keeps making 'em, I'll keep buying 'em.
Ironically, it's by not yielding to larger trends in the market that BIS has kept my custom.
|
|
|
Post by scotttiger December 30, 2014 (3860 of 4131)
|
|
Chris from Lafayette said:
...
Another thing we know ... is that the instrument listed FIRST in many of the early keyboard works (even as far as Op. 27!) is NOT the fortepiano ("piano-forte"), but the harpsichord ("clavecin" or "clavicembalo")! Viz,. . .
Opus 2 sonatas, published in 1795: “Pour le Clavecin ou Piano-Forte”
... etc
I think that it is important to differentiate between what instrument Beethoven was writing for and the instruments residing in the homes of the people that the publisher was trying to sell scores to. Forte-pianos didn't replace harpsichords in homes until the 1800's, so of course the keyboard works were sold as 'for harpsichord' until then.
somehow this relates to hybrid sacd's, and the people who buy them and play them on non-sacd players. I can't figure out how to put it, but sacd players are forte-pianos in the analogy.
|
|
