Post by Arthur July 28, 2011 (21 of 130)
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seth said:
I'm glad that the booklet is amazing, but what about the playing and interpretation?!
It's going to take a while to work my way through the whole box, but on the basis of the first disc (the Op. 2's), the pianist he most reminds me of is Wilhelm Backhaus. Though tempi were mostly moderate, he really ripped into the Allegro con brio of number 3! Though he doesn't miss the forest for the trees, he also isn't afraid to appreciate the sights, sounds and smells along the way. He catches the wit and humor of the writing without being quite so heavy-handed as Brendel. Those eagerly following the Tchetuev cycle will probably continue to do so - his style is more grand and modern, but I enjoyed these readings immensely as well. The only minor flaw (and I stress the word "minor") was the very occasional sense of slight rhythmic uncertainty.
The piano sound is clean and realistic, but without a strong bass profile. Of course these early works don't really test the full range of the instrument to the degree some of the later Sonatas do, so this impression is perhaps provisional.
I'm already quite certain I'm going to enjoy sharing in Takacs' journey!
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tailspn said:
I've stood next to the Steinway's on the stage at Symphony Hall many times while they were being tuned, and played by the tuner, and this is very close to what I remember hearing there.
For curious pianophiles, Takács plays a Bösendorfer Imperial Grand, Model 290-9'6", Opus 44786. This is a set to treasure, so far exceeding my reservations about J. Gordon Holt's law on music and recording quality (the one which states they are proportionally inverse). I have over 15 complete cycles on disc, and a few dozen more CD's with individual sonatas, and this is not Gulda, nor is it Backhaus, but it is completely vital and engaging pianism. As regards hi-rez, I have no intention of buying Kodama's set, based on preview listening on Spotify, but I already prefer this set to Michael Korstick's nearly-complete SACD cycle for Oehms Classics, my only other hi-rez reference. That said, I have had the set only for a couple days now. Limpid, refined, dynamic are three adjectives that immediately come to mind when I think of Takács's interpretations. And the recording quality really is nonpareil, in my humble opinion: as good as it gets. Enough air, an attractive natural reverb, finely-tuned instrument, miked not too close and not far away. It is also worth noting that Takács recorded the Sonatas over a six year period, from 2001 till 2007. I guess this project sat unfunded for some time. Snap it up while you can. Seventy-six bucks!
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Post by Fugue July 28, 2011 (23 of 130)
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Eddie Williamson said:
I already prefer this set to Michael Korstick's nearly-complete SACD cycle for Oehms Classics, my only other hi-rez reference.
In what way(s) do you prefer it? I like Korstick's interpretations, but the sound is a bit distant and clangorous for my taste. Please comment on both sound and playing. Thanks!
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Just ordered the set and am looking forward to basking in the glory of DSD~recorded multichannel sonics for what I consider a veritable bargain.
Nice to hear that the performance and sonics are stellar and I would urge others to take advantage of this "introductory" price of $78 as the next best price on Amazon is almost $130.00 (US).
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Fugue said:
In what way(s) do you prefer it? I like Korstick's interpretations, but the sound is a bit distant and clangorous for my taste. Please comment on both sound and playing. Thanks!
I said I have only had the set for a couple of days, having listened to just a couple discs so far. A complete appraisal would be premature, but I listed three adjectives to give an idea of what I have heard. I found Korstick to be, overall, heavy-handed, lacking grace and missing much of the poetry, and overly clangorous in percussive attacks. Again, this is a general opinion, some sonatas and movements are better than others. His forthrightness and directness can be appealing on some sonatas.
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Post by tailspn July 28, 2011 (26 of 130)
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Fugue said:
Please comment on both sound and playing. Thanks!
Stereo or MCH?
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tailspn said:
Stereo or MCH?
DSD~Recorded multichannel 5.1, pressed in Austria.
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Post by tailspn July 28, 2011 (28 of 130)
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rammiepie said:
DSD~Recorded multichannel 5.1, pressed in Austria.
Thanks. The question was to fugue as to whether he wanted a comment on the MCH or Stereo sound.
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Post by Fugue July 28, 2011 (29 of 130)
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tailspn said:
Thanks. The question was to fugue as to whether he wanted a comment on the MCH or Stereo sound.
MCH, please.
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Post by tailspn July 29, 2011 (30 of 130)
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I loaded five different solo piano selections into a Sonoma DAW to be able to switch instantly between them. These included the Sonata No. 23 played by Takacs, the same from Tchetuev and Kodama, the Tchaikovsky Dumka Op.74 on Ondine, and the Rachmaninov Moments Musicaux Op.16 on Channel. All are similarly sonically presented, IE: none appear to be a minimal five microphone ITU placement. The piano in all instances occupies the full width of the front three speakers. That said, the Takacs, for me, is a superior MCH sounding recording. It has the more impact, is more like a real piano, is drier, and is more immediate sounding. It also has the closest distance perspective of the instrument of all the recordings.
The recording I liked second best was the Ondine. While it sounds somewhat hooded with instantaneous comparison, it has a better feeling of space around the instrument than the Takacs. That could be the venue, or the recording technique. For my interests, this Takacs Beethoven sets a new standard for capturing the experience of hearing a concert grand piano via a recording.
Tom
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