Classical Corner Classical Music Corner (thread #38)

Not sure what your comments mean in pianistic technical terms of performance.

I guess I have steered away from pianists that veer too far from the markings...such as most piantsts in say the Rach 2 Concerto. That is why I prefer Hough in that work at present.

Anyway, I love Kocsis articulation in the Sonata #2 and how the inner voicings come to life which are absent on other recordings. His momentum is impeccable on the Sonata #2.

I guess we all hear things differently.

PS-No love for his Bartok or Grieg?

 

On the matter of Zoltan Koscis and Grieg, I think there are other pianists that do not miss the mark...such as the famed Norwegian pianist, Einer Steen -Nokleberg ...on his 14CD series of Grieg's music. A noted Grieg specialist and multiple award winner over many decades for his Grieg performances . Dating back to even when Koscis ,was probably at best, still in short pants.

 

Listen to how Kocsis plays the Lyric Piece Opus 12-6 and then listen to Nokleberg.

Nokleberg totally misses the mark. The dance rhythm is totally missing. He plays it like an Etude.

Nokleberg is OK on some of the Grieg recordings but misses the mark on many pieces. His career pales in the shadow of Kocsis.

 

Classical Corner appreciation CD giveaway.

Another duplicate from my archives. Please, only if you do not have the compositions.

First member to PM me gets it totally free...US only please.

 

I collect version after version of Rachmaninoff's music. His solo or concerto piano works, symphonic works, you name it ...but with each I want to hear the thoughts, the feelings and the responses of an individual performer come through. Without any grotesque jarring or pulling around of the work, making it so. Therefore when I think of this of some performance I own, the first thing I want to think of,,,, is an immediate response why I like that recording. Some definite "individual signature" I can easily remember. Be it Richter's amazing contrary motion work then coupled to dazzling scale work that heralds the quickening of the 2nd Movement / 2nd Piano Concerto....the unique controlled inner pulsing dynamics of Janis in the 3 rd Concerto, Ashkenazy instead deciding to do and then handling the "extended" cadenzas ,.in the 1st movement 3rd Concerto / Schberakov pulling off a usual Horowitz expected 'turn' coming to the close of the Rachmaninoff Piano Sonata No 2/ Lugansky's aristocratic sense of elegant poise and control....yet willing to unleash the reins... with an incredible technique if required/ Argerich - fearless , relaxed and confident to handle any demand - Rachmaninioff throws.
As for Bartok, I dont mind his Rhapsody for Piano and Orchestra, his opera Bluebeard's Castle, his orchestral works, or the ballets . Bartok's solo music....Brrrrhhhh!! Kodaly....I am equally non-plused

On the Grieg front, owning various versions of the Grieg Concertos, the songs etc. ...and the previous mentioned 14 Volumes of his piano music : that I think , is sufficient Grieg.

 

I never bother judging a instrumentalist, singer or conductor whether or not they landed some recording contract from a major company or lucky to be regularly written up in music mags. From where I am standing...I do not think Koscis exactly set the World alight. I have a very retentive memory over many decades, for 'flash in the pan 'artists that were slated as the great next new star. A few recordings.....and puff! Gone! I prefer to think of many artists that were/ or are just / or better talented than touted others...who missed the "they also light well - we certainly can do something really promotional ,with them " factor from the big mangement companies or the right influential connections. Other artists at times want a life...not wishing to live out of a suitcase and different hotel room 7 days a week on the international concert/stage bandwagon locked into complex contractual arrangements and various mangement 'fees'. . Those decisions alone - does not decrease their talent or ability in any way.. Some decide to gain music professorships, teach and perform when they feel the need or record - when requested . I hate being spoon-fed by publicity and record companies who "is best!" and why I should buy..
Otherwise if we took entirely. what some record company shoved at us...we would be buying the likes of that 'silly promoted clot' David Helfgott and his recording of Rachmaninoff 3rd Concerto...

 

Surprised you have gotten this much mileage out of a 1600-CD spinning tower. Unfortunately, my total CD's and LP's are fast approaching 10,000 and no single storage will handle this number of recordings. George is quite creative and perhaps he may have some idea for me. I even have a few dozen open-reels on classical music ...

 

Now playing the following CD from my Telemann collection ...

 

Jim, We both have this special taste for early music.

 

Now playing the following CD from my Johan Roman collection ...

 

A little Liszt before bedtime, next to play from my Liszt collection ...

 

well,i don't care for Rye bread.i like Munch in whatever he conducts.if one
wants to get 'national' about it,you can say that he brings French clarity to
the music.to my ears it is forceful & straightforward,which is just the way
that i think of Beethoven,but not lacking in subtlety.

 

Dear Professor VanHooser:

Appreciate your straight forward and honest remarks.

I am not stating anything about "Nationality" at all.

All I am doing is mentioning the "flavor" that the piece

obtaines conducted by one conductor vs another conductor.

Each Conductor has a receipt that he follows which

gives a Beethoven Symphony a certain taste or flavor and mood.

Please don't read me wrong. I love Charles Munch!

Cheers, Long Playing Fan......

 

RCA Victor LSC-2915,released 1967.recorded 1/10-11/66.producer:Richard Mohr.engineer:Anthony Salvatore.i can't rate this any better than a C+.
not bad,but nothing to write home about.sound is also undistinguished.
the cover says 'Dynagroove',but this is a later pressing without 'Dynagroove'
on the label.since they still are using the 1966 matrix code,can i assume
that this was 'Dynagrooved'?

 

sorry if i seemed "touchy".what i'm saying is that his Beethoven is tasty to me.
i actually don't like Rye bread,so i wouldn't use that for a comparison...unless i really didn't care for something!

 

I have this. Do the contents overlap?

 

The Batesville Casket Co. began, and is still headquartered in Batesville, Indiana -- not far from my birthplace.

 

yes,i looked it up-that's how i found out about the factory in Manchester.
my wife attended a conference in Dublin in 2006.i tagged along & searched
Columbus for used CDs & LPs.had a really nice time there.

 

Now playing CD9 - Elgar Enigma Variations and Vaughan Williams Tallis Fantasia & Five Tudor Portraits from the following set for a first listen ...

 

In all likelihood, as Gimell tends to repackage their singles into twofers ...

 

Now Enjoying Backhaus playing (in fine transfers):

Brahms Piano Concerto 1
Boult

Grieg Piano Concerto
Barbirolli

 

Bump. No takers?

 

Talking about early music, I just ordered the latest surround production from TACET. Music from medieval France and England, 10th - 13th century performed by the Ensemble Providencia (whoever they are ). The samples on jpc sounded beautiful.

 

Making some noise for the neighbourhood

Kidding aside, this is really expressive, sometimes hopeless music, by a guy who suffered through all his life - and in his case, you can't say that's just a cliché.

 

Now enjoying (thanks for the recommendation, guys! Her voice is full, strong and beautiful.)