I've been listening/comparing these two recordings for the past week. I might post something more detailed when I've formed a more solid conclusion, this is best left for a breakdown between each fugue. In general I would say Koroliov takes a slightly more punctuated approach and Nikolayeva is a bit more fluid. In short two absolutely amazing performances, I don't think I would want to be without either one because each have their own interpretation, while similar on some are different on others (ie Contrapunctus 5 Koroliov takes a more propulsive approach whereas Nikolayeva is gentler, but then it won't hold true for another fugue where Nikolayeva will play it with more intensity) the tempi are also different and another area where no generalization can be made. Both of them are radically different from Gould (not a condemnation on Gould I wouldn't want to be without his either and wished he recorded it all on piano), both allow for space between the voices but without ever feeling labored. Also Nikolayeva and Koroliov play them completely straight with no added improvisations, something I appreciate. A nice bonus is the recording quality is superb on both. Actually wish Nikolayeva recorded more Bach for Hyperion as these recordings sound better than the Russian labels, I don't really find her interpretations that different between studio recordings (more variance live), though this is from years of listening and not direct comparisons.
I have owned both recordings for a long time but have never gone after any in-depth analysis of each performance. IIRC, I preferred the performance of Nikolayeva over that of Koroliov ...
Is? Was, maybe, but on the whole I think history has not been especially kind to him. The consensus, I think, is that after languishig in the wilderness too long, he achieved too much fame before he was ready.
Of course, he died only five years ago, and we all know no musician gets really good until he's been dead 20 years....
Thanks for posting! While I'm not very optimistic, I hope that the mastering / transfers are done well.
Now enjoying this superb new release of three live recordings, taken from concerts that took place in 1967-1984.
Wow, I crossed off a longstanding want list item with an unplayed copy of the very OOP Silverman Beethoven piano sonatas cycle on Orpheum Masters for $30 shipped. Then, while looking for something else, I also grabbed a complete Beethoven symphony cycle by von Dohnanyi/Cleveland on Telarc for $10 shipped. I still haven't listened through the Ashkenazy complete Beethoven piano sonatas set I received last week for $15 shipped. This is just crazy . . . I think we're witnessing a perfect storm of estate sales coupled with the death of physical media, accelerated by competing online sales and sites. The bottom is just falling out for all but the rarest collectibles.
Indeed! It's also miked in a very odd way. It sounds as if you're quite far away from the piano, it sounds like it's down a long hallway and as a result the attack of the notes has very little impact.
Listening again (on Amazon) to this set with Backhaus' later (stereo) recordings of the Beethoven sonatas - except the Hammerklavier, which was taken from his earlier mono cycle because he had died before he could re-record it. I still can't get used to his playing style, with desynchronized hands and things like that; very old-fashioned.
guys, I know nothing about classical music, but I do know I like this piece of music. Could you guys point me in the direction of other dark, sinister works like this?
Still working through this set for the second time. I'm now up to the penultimate disc. Gorgeous, playful playing here. Still upset about the clicks/pops heard throughout.
I wonder if the clicks/pops have to do with a somewhat defective lot? I have quite a few Hanssler CD's and they are generally quite good ...