Gieseking plays the Debussy Etudes
Dufus
can identify ? Thanks !
Audio, with scores, the scores reminding me, at least , what
extraordinary demands o the pianist Debussy makes here, perhaps my fav
Debussy solo piano :
http://www.youtube.com/watch?v=vsnaBS7BBxI&playnext=1&list=PL0F0E5AAEEFE6E050
( # 1 of 12 there )
Dufus
Steve Emerson
<10c9716a-3f80-4fde...@v10g2000yqn.googlegroups.com>,
Dufus <steve...@gmail.com> wrote:
I believe he only recorded them once, around 1951-53, for EMI. Gieseking
and Rosen were the first to record them, interestingly -- Cortot didn't
do them, nor did Marcelle Meyer. Following fairly quickly on their heels
were Monique Haas and Ferber. Incidentally, Monique Haas's first set,
for DG, is good, but her second set, on Erato, is terrific, especially
playful and undaunted in the first book. Unfortunately, Erato didn't get
the sound right (metallic highs). Her Ravel for that label, from a few
years before, is markedly more pleasant to the ear.
SE.
pianomaven
> Gieseking and Rosen were the first to record them, interestingly -- Cortot didn't
> do them, nor did Marcelle Meyer. Following fairly quickly on their heels
> were Monique Haas and Ferber. Incidentally, Monique Haas's first.
This is, in fact, incorrect.
The first recording of the Debussy Etudes was recorded by the Decca
Record Company Limited in the mid 1940s.
The name of the pianist escapes me, but the archives of this forum
should reveal it.
It is, perhaps, time to no longer perpetuate the falsehood regarding
Rosen's claim. One realizes that he has lived with this claim for most
of his life and probably doesn't even know that he was bested to this
day. But we do know better.
TD
pianomaven
It took but two minutes to come up with the correct information.
Jeremy4960
View profile
More options Oct 3 2000, 8:44 pm
You are mistaken. Rosen's was not the first complete recording of the
Debussy
Etudes. That distinction belongs to the South African pianist Arthur
Hallis on
Decca 891/6. (The facts are given incorrectly in several popular
books about
the piano, and even Rosen himself may have been unaware that he was
not the
first.)\
TD
Steve Emerson
<598d9c68-10f1-4804...@k25g2000yqf.googlegroups.com>,
pianomaven <1pian...@gmail.com> wrote:
Noted. Glad to have that information -- I hadn't been aware. BTW, you
seem to have edited my post up above (if I may allude to recent
exchanges with MA). There is no period after "Monique Haas's first".
SE.
pianomaven
> In article
> <598d9c68-10f1-4804-829e-520842231...@k25g2000yqf.googlegroups.com>,
I didn't change a thing, Steve. I may have shortened the previous
posts or clipped your further comments clumsily. Sorry about that.
Seem some here are sensitive about replying to sixteen posts in order
to comment on a single point.
My only aim was and is to dispense once and for all with the notion
that Rosen was first. He wasn't. He was second. Gieseking third, etc.
TD
TD
Dufus
Seems all these pianists "cheat " by using the thumb in the Etude
"Huit doigts" ? Or is there an occaisional thumb in the score ? :
http://www.youtube.com/watch?v=mUyANy18IkY
SPAM- @xs4all.nl HvT
Following Debussy playing this etude with thumb is more difficult,
'acrobatic' is the word he uses, than without it. So the use of the thumb is
allowed. BTW, what horrible performances of this wonderful piece ...
Henk
Dontait...@aol.com
> In article
> <10c9716a-3f80-4fde-a808-56fd1c69d...@v10g2000yqn.googlegroups.com>,
>
> Dufus <steveha...@gmail.com> wrote:
> > The recording is not identified in these YT's. I'm sure someone here
> > can identify ? Thanks !
>
> > Audio, with scores, the scores reminding me, at least , what
> > extraordinary demands o the pianist Debussy makes here, perhaps my fav
> > Debussy solo piano :
>
> > ( # 1 of 12 there )
>
> I believe he only recorded them once, around 1951-53, for EMI. Gieseking
> and Rosen were the first to record them, interestingly -- Cortot didn't
> do them, nor did Marcelle Meyer. Following fairly quickly on their heels
> were Monique Haas and Ferber. Incidentally, Monique Haas's first set,
> for DG, is good, but her second set, on Erato, is terrific, especially
> playful and undaunted in the first book. Unfortunately, Erato didn't get
> the sound right (metallic highs). Her Ravel for that label, from a few
> years before, is markedly more pleasant to the ear.
>
> SE.
Cortot did one book more than once, at least. I'd have to check,
though. An early 1930s set, then a post-war one issued in the USA on
an RCA Victor LHMV- series LP. At least as I recall. Sorry to be
vague.
Were the Gieseking versions the same recordings? Meaning those that
came out on USA Columbia LPs, then on Angel?
Shall study.
Don Tait
pianomaven
wrote:
I think you will find that Cortot NEVER recorded the Debussy Etudes,
Don. He did the Preludes, however, and that is what you must be
thinking of.
The Gieseking ONLY came out on Angel, as the arrangement between
Columbia USA and Columbia UK had dissolved by then.
TD
Dontait...@aol.com
Debussy Etudes? Yes, I thought this was about the Preludes. My
mistake. I know Cortot never recorded the Etudes. Gulp.
So there were two Gieseking recordings of the Debussy preludes: the
USA Columbias and the subsequent UK Columbia/Angels? They were
different? I bought them both, and have wondered. I have to look among
my records and discographies. It might be in some of the last I have
here.
Thanks for all.
Don Tait
.
Roger Kulp
Have you ever seen any of those early Angel Lps,that have AHA
catalogue numbers,and British printed covers? I have three of
these.hey don't seem to have been around more than a year or so.What
was the story with these issues?.
Do you agree with me,that the British pressed Angels,seem to sound
better,and be better pressings than the UK pressed Columbias of the
same period?
Roger
Dufus
> Following Debussy playing this etude with thumb is more difficult,
> 'acrobatic' is the word he uses, than without it. So the use of the thumb is
> allowed. BTW, what horrible performances of this wonderful piece ...
>
From a BBC Radio 3 programme note :
" In a footnote at the beginning Debussy suggested that "In this
etude, the changing position of the hands makes the use of the thumbs
awkward and acrobatic in performance". Only after hearing Marguerite
Long's performance of it Debussy was apparently convinced of the
legitimacy of using thumbs contrary to his instruction. The character
of this piece is essentially one of moto perpetuo in a restricted
space and thus akin to Mouvement of the Images."