What are you listening to now?

[Schenkerian]

Another high octane performance from Kleiber: this time the fabulous Brahms #4. High intensity so befitting this magnificent symphony. Recorded in 1980 it was released on compact disc very early in the life of that medium. Sadly it turned out to be a harsh and dry recorded sound which doesn't do justice to the inherent warmth in this work:

https://www.youtube.com/watch?v=Ho-H-8FzbU8

The somewhat checkered history of the CD had many such dry recordings and this problem still exists today.

[Quijote]

^^ Fair enough, you have chosen not to reply to me. We'll keep it that way, well played. Soft pedal on the BS, we'll get on just fine. Over and out.

[Arciom Nesterovich]

AI is recreating Beethoven's music
https://www.youtube.com/watch?v=h_pHoNr_E3c
What do you think about that?

https://musescore.com/sheetmusic?text=beethoven

[Schenkerian]

We already have a thread about this half way down the main page, in case you're interested.

[Quijote]

I ask about these time signatures not only for the correct/most coherent version but also for my ear-training course: some of my students are confused about 4/4 (C) and 2/2 (cut common time/C with a vertical slash). My lesson tomorrow involves handing out photocopies of Variation XXXII and then listening to various performers playing the same variation to see if they really bring out the feeling of a two-minum (half note) bar or render it as 4/4!
My CD selection includes:
Rudolf Serkin / Andreas Staier / Stephen Kovacevich (young) / Stephen Kovacevich (old) / Friedrich Gulda.
My ear-training courses are not just always about dictation, you know!

Well, the lesson went well and my students got the picture, so to speak, especially once I handed out the photocopies of this variation.
I'm actually quite exhausted today, I always feel drained after my lessons because I'm a very energetic teacher, goading and cajoling my students to make progress, though always with a touch of humour, believe it or not.

My post is not appropriate to the thread title, my apologies. Maybe I'll open a thread about teaching, there are at least two other teachers on this forum. That said, when I listen to stuff I often get ideas I could use for teaching purposes, so maybe you will indulge me.

[Sorrano]

Well, the lesson went well and my students got the picture, so to speak, especially once I handed out the photocopies of this variation.
I'm actually quite exhausted today, I always feel drained after my lessons because I'm a very energetic teacher, goading and cajoling my students to make progress, though always with a touch of humour, believe it or not.

My post is not appropriate to the thread title, my apologies. Maybe I'll open a thread about teaching, there are at least two other teachers on this forum. That said, when I listen to stuff I often get ideas I could use for teaching purposes, so maybe you will indulge me.

I'm keen on indulging you. And in keeping with the current thread, I've been listening (on the radio) to Bill McLoughlin's Exploring Music which was mainly about Schumann last night. Included was the Konzertstuke (pardon the spelling) for orch. and 4 horns, the first movement of the Rhenish Symphony, a movement from a quintet as well as some other smaller works.

[Peter]

Wonderful playing by Sokolov - Bach French overture BWV 831

compare with the Schiff version (fugato starts at 2'40)

I know which version I prefer!

[Schenkerian]

Schiff has become an incredibly boring and stultified artist, along with his tedious, cookie-cutter political pronouncements. I once sat through about 20 minutes of his 'encores' in Vienna; he just wouldn't get off the stage and people started leaving!!

I love Sokolov and his tremendously energized playing. Check this out:

https://www.youtube.com/watch?v=8r5kecJfS2I

[Peter]

Schiff has become an incredibly boring and stultified artist, along with his tedious, cookie-cutter political pronouncements. I once sat through about 20 minutes of his 'encores' in Vienna; he just wouldn't get off the stage and people started leaving!!

I love Sokolov and his tremendously energized playing. Check this out:

https://www.youtube.com/watch?v=8r5kecJfS2I

I've always found Schiff boring - the Sokolov is electric! Thanks for the Couperin, really wonderful.

[Schenkerian]

I loved the very thoughtful and poetic Leon Fleisher too:

https://www.youtube.com/watch?v=Xgyz0XqDEEA

[Schenkerian]

A pianist for whom the moniker 'thrilling' isn't usually applied but in this special circumstance I'm using it. Vladimir Horowitz with NYPO/Mehta in 1978 playing Rachmaninov #3. From 40 minutes it's edge of the seat stuff as the conductor tries to keep the orchestra together with the runaway pianist. Clanky old piano, wrong notes and often-erratic tempi but, my god, what a performance!! Horowitz's hand goes up into the air in the later stages of the 3rd movement signalling his exultation. And look at the response of the audience!!

https://www.youtube.com/watch?v=D5mxU_7BTRA

[gprengel]

Wonderful playing by Sokolov - Bach French overture BWV 831

compare with the Schiff version (fugato starts at 2'40)

I know which version I prefer!

Amazing Sokolov - what a difference!!! Thank you, Peter!

[Quijote]

Wonderful playing by Sokolov - Bach French overture BWV 831

compare with the Schiff version (fugato starts at 2'40)

I know which version I prefer!

No doubt about it, the Sokolov is a far more engaging performance, much more exciting than the Schiff !
In defence of Schiff, he gave a very enjoyable series of lecture-recitals on Beethoven's piano sonatas: https://www.theguardian.com/music/cl...943867,00.html

[Schenkerian]

Yesterday I Chromecast a masterclass on Liszt's B Minor Sonata with Alfred Brendel at the Royal College of Music. The first thing I noticed was the appalling posture of the first musician, of which Brendel said nothing. And Brendel's mumbling when playing even the tiniest excerpts was a huge distraction; actually, many of my CDs with this musician are characterized by this background noise:

https://www.youtube.com/watch?v=er-PUs0_tys

Brendel is a fine pianist but not everybody is sympathetic with his particular interpretations. I'm wondering where this leaves the concept of 'the masterclass'. He has written essays about his belief that composers used the piano to replicate the instruments of the orchestra and, in fact, he does mention certain orchestral instruments during this masterclass. To tell truth, I've never been entirely convinced about this notion.

[Peter]

Agreed the first pianist has the worst posture I've ever seen, my teacher was a stickler about that, sometimes taking over a whole lesson on the Alexander Technique.

I think certain composers do think in orchestral terms at the keyboard, Ravel and Debussy certainly come to mind.