Tchaikovsky's piano trio Op. 50
HvT
rule) I return once every other week to Tchaikovsky's Op. 50. At the
moment I have:
Berezovsky, Repin, Yablonsky
Oborin, Oistrakh, Knushevitsky
Richter, Kagan, Gutman
Rubinstein, Heifetz, Piatogorsky
What is the next version I should buy?
Henk
jrs...@aol.com
Maybe Argerich/Kremer/Maisky. The coupling is great, too. As a trio
they exceed expectations. It's not just three stars competing for
attention.
---Jeff
ukr...@yahoo.com
I have a version on Sony with Bronfman, Lin and Hoffman that I enjoy.
I am opposite from you in that I love Tchaikovsky, but generally find
myself bored with some chamber pieces. This recording, however, has
always satisfied me. It is passionate, well played, and has good
sonics. I actually bought this for the Arensky, but never actually get
past the Tchaikovsky. Very good teamwork and quite dramatic.
Judging from the catalog though, there would appear to be many good
versions.
Sol L. Siegel
>I have a version on Sony with Bronfman, Lin and Hoffman that I enjoy.
So do I.
There's another Sony version, with the three instrumental winners of
the 1978 Tchaikovsky competition: Pletnev, Oliveira and Nathaniel
Rosen. It's that rarity, a performance that combines cafeful detail
work with genuine excitement. Typically, it's not on CD.
I find Argerich/Kremer/Maisky thrilling if lacking in repose. Oddly,
I have a similar memory of the Naxos with Vovka Ashkenazy at the
keyboard, though I haven't played it in ages.
The Vladimir Ashkenazy/Perlman/Harrell recording is dull as watching
paint dry. I recall that Rubinstein/Heifetz/Piatogorsky make the big
cut in the final variation, which automatically eliminates it from
contention.
Speaking of which: Has anyone come up with an online guide to which
versions play the work uncut, or don't?
- Sol L. Siegel, Philadelphia, PA USA
Steve Emerson
"HvT" <hvt...@xs4all.nl> wrote:
Unhesitatingly: Pletnev/Elmar Oliveira/N. Rosen
Not sure how available it is, in fact I don't even know if it appeared
on CD.
Also extrordinary is The Suk Trio.
SE.
Alan Cooper
news:emersn-258112....@nnrp-virt.nntp.sonic.net:
Those are the two recordings I would recommend as well. The Suk Trio was my
"imprint" version. I have to say that the piece has not worn well in my
estimation, especially the opening movement: it's too long, too repetitive, and
too bombastic--just like one of Tchaikovsky's symphonies, in other words. The
composer embedded a better piano trio, so to speak, in the middle of the complete
version of his Piano Concerto #2. In comparison with the real chamber music, the
Piano Trio is not nearly as strong a work as the first and third String Quartets,
imo.
AC
jrs...@aol.com
> On Fri, 21 Mar 2008 08:58:35 -0700 (PDT), ukrn...@yahoo.com wrote:
> >I have a version on Sony with Bronfman, Lin and Hoffman that I enjoy.
>
> So do I.
>
> There's another Sony version, with the three instrumental winners of
> the 1978 Tchaikovsky competition: Pletnev, Oliveira and Nathaniel
> Rosen. It's that rarity, a performance that combines cafeful detail
> work with genuine excitement. Typically, it's not on CD.
Hmmm. I think I have that on lp--I remember buying it for Rosen, and
wondering who this "Pletnev" guy was. Will have to listen again.
>
> I find Argerich/Kremer/Maisky thrilling if lacking in repose.
I can't imagine valuing repose very highly in Tchaikovsky, but I know
what you mean. I prefer the ripe emotionality in this case, draining
though that may be over 50 minutes or whatever.
>
> The Vladimir Ashkenazy/Perlman/Harrell recording is dull as watching
> paint dry. I recall that Rubinstein/Heifetz/Piatogorsky make the big
> cut in the final variation, which automatically eliminates it from
> contention.
>
> Speaking of which: Has anyone come up with an online guide to which
> versions play the work uncut, or don't?
>
> - Sol L. Siegel, Philadelphia, PA USA
I vaguely remember the thread six years ago covered most versions and
which ones cut and which ones don't.
--Jeff
jrs...@aol.com
> Steve Emerson <eme...@nospamsonic.net> wrote innews:emersn-258112....@nnrp-virt.nntp.sonic.net:
>
>
>
> > In article <47e3d719$0$14343$e4fe5...@news.xs4all.nl>,
> > "HvT" <hvtu...@xs4all.nl> wrote:
>
> >> For reasons I don't quite understand (I don't like Tchaikovsky
> >> as a rule) I return once every other week to Tchaikovsky's Op.
> >> 50. At the moment I have:
>
> >> Berezovsky, Repin, Yablonsky
> >> Oborin, Oistrakh, Knushevitsky
> >> Richter, Kagan, Gutman
> >> Rubinstein, Heifetz, Piatogorsky
>
> >> What is the next version I should buy?
>
> > Unhesitatingly: Pletnev/Elmar Oliveira/N. Rosen
>
> > Not sure how available it is, in fact I don't even know if it
> > appeared on CD.
>
> > Also extrordinary is The Suk Trio.
>
> Those are the two recordings I would recommend as well. The Suk Trio was my
> "imprint" version. I have to say that the piece has not worn well in my
> estimation, especially the opening movement: it's too long, too repetitive, and
> too bombastic--just like one of Tchaikovsky's symphonies, in other words. The
> composer embedded a better piano trio, so to speak, in the middle of the complete
> version of his Piano Concerto #2. In comparison with the real chamber music, the
> Piano Trio is not nearly as strong a work as the first and third String Quartets,
> imo.
I agree...it's not his best work, and the relationship to the second
piano concerto is even stronger as a result. But...I think a real
bravura show-off treatment makes the music work better than treating
it as great chamber music.
--Jeff
Dana John Hill
news:47e3d719$0$14343$e4fe...@news.xs4all.nl...
I have an ArtistLed CD with Da-Hong Seetoo, Wu Han and David Finckel that I
enjoy, especially since it has a rarer coupling: the Kodaly Duo for Violin
and Cello, Op. 7.
--
Dana John Hill
Gainesville, Florida
Tony
> For reasons I don't quite understand (I don't like Tchaikovsky as a
> rule) I return once every other week to Tchaikovsky's Op. 50. At the
> moment I have:
>
> Berezovsky, Repin, Yablonsky
> Oborin, Oistrakh, Knushevitsky
> Richter, Kagan, Gutman
> Rubinstein, Heifetz, Piatogorsky
There is an incredible performance of the first movement by Horowitz/
Rostropovich/Stern from their Carnegie Hall Concert of the Century on
Sony. Stern is forgettable, Slava is good, but Horowitz's piano part
is both powerful and beautiful. Same goes for his accompaniment to Fi-
Di in Dichterliebe, and the slow movement to Rachmaninoff's cello
sonata.
For the complete, uncut version, I tend to go back to Argerich. A
performance by Barenboim/duPre/Zuckerman is inexpiclably thrown in as
filler to their big set of Beethoven's chamber music, but it's not
very interesting. Richter's was good, not quite what I had hoped
for. I'd love to hear an earlier performance of Richter, preferably
with a better cellist (not that Gutman is bad, just not matched well
with Richter). I also recall a performance by Gilels being pretty
good.
cheers,
Tony
Matthew B. Tepper
to be typed in news:kdo7u3l6gjenier9u...@4ax.com:
> The Vladimir Ashkenazy/Perlman/Harrell recording is dull as watching
> paint dry. I recall that Rubinstein/Heifetz/Piatogorsky make the big
> cut in the final variation, which automatically eliminates it from
> contention.
>
> Speaking of which: Has anyone come up with an online guide to which
> versions play the work uncut, or don't?
You got there before I did! This is the question I always want to have
answered about any recording of the piece -- is it what Tchaikovsky
actually wrote, or is it something that somebody "helped" him with?
I can't believe that people who fuss about minuscule variants among
Bruckner symphony editions don't care about this issue in minute detail as
well. Uhhh, except for the fact that they regard Bruckner symphonies as
great music, and PIT's Trio as not-on-that-level-by-any-means. ;--)
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
Matthew B. Tepper
following letters to be typed in
> I have to say that the piece has not worn well in my estimation,
> especially the opening movement: it's too long, too repetitive, and too
> bombastic--just like one of Tchaikovsky's symphonies, in other words.
> The composer embedded a better piano trio, so to speak, in the middle of
> the complete version of his Piano Concerto #2.
Although, once again, other hands (was it Alexander Siloti?) "helped"
Tchaikovsky here by cutting much of that beautiful music out of the
concerto.
Matthew B. Tepper
be typed in news:f5736336-61cf-4d34-8cb6-bad95a40bc66
@e60g2000hsh.googlegroups.com:
> There is an incredible performance of the first movement by Horowitz/
> Rostropovich/Stern from their Carnegie Hall Concert of the Century on
> Sony. Stern is forgettable, Slava is good, but Horowitz's piano part is
> both powerful and beautiful. Same goes for his accompaniment to Fi-Di
> in Dichterliebe, and the slow movement to Rachmaninoff's cello sonata.
That first movement-only performance is sloppy in parts, but exciting as
all get-out! And you know we only have that Rachmaninoff movement because
somebody got sick and cancelled; I think Caballé was supposed to sing
Mozart's "Ch'io mi scorda di te?" with Bernstein conducting and pianoing.
Norman M. Schwartz
"Matthew B. Tepper" <oy兀earthlink.net> wrote in message
news:Xns9A687E61774...@216.168.3.70...
> Sol L. Siegel <vod...@aol.com> appears to have caused the following
> letters
> to be typed in news:kdo7u3l6gjenier9u...@4ax.com:
>
>> The Vladimir Ashkenazy/Perlman/Harrell recording is dull as watching
>> paint dry. I recall that Rubinstein/Heifetz/Piatogorsky make the big
>> cut in the final variation, which automatically eliminates it from
>> contention.
>>
>> Speaking of which: Has anyone come up with an online guide to which
>> versions play the work uncut, or don't?
>
> You got there before I did! This is the question I always want to have
> answered about any recording of the piece -- is it what Tchaikovsky
> actually wrote, or is it something that somebody "helped" him with?
>
> I can't believe that people who fuss about minuscule variants among
> Bruckner symphony editions don't care about this issue in minute detail as
> well. Uhhh, except for the fact that they regard Bruckner symphonies as
> great music, and PIT's Trio as not-on-that-level-by-any-means. ;--)
>
I have the two performances by The Borodin Trio on Chandos. The later of the
two (8975) describes itself as being a "Newly-recorded fuller version".
> --
> Matthew B. Tepper:
francis
> "Matthew B. Tepper" <oy�@earthlink.net> wrote in messagenews:Xns9A687E61774...@216.168.3.70...> > to be typed innews:kdo7u3l6gjenier9u...@4ax.com:
>
> >> The Vladimir Ashkenazy/Perlman/Harrell �recording is dull as watching
> >> paint dry. �I recall that Rubinstein/Heifetz/Piatogorsky make the big
> >> cut in the final variation, which automatically eliminates it from
> >> contention.
>
> >> Speaking of which: Has anyone come up with an online guide to which
> >> versions play the work uncut, or don't?
>
> > You got there before I did! �This is the question I always want to have
> > answered about any recording of the piece -- is it what Tchaikovsky
> > actually wrote, or is it something that somebody "helped" him with?
>
> > I can't believe that people who fuss about minuscule variants among
> > Bruckner symphony editions don't care about this issue in minute detail as
> > well. �Uhhh, except for the fact that they regard Bruckner symphonies as
> > great music, and PIT's Trio as not-on-that-level-by-any-means. �;--)
>
> I have the two performances by The Borodin Trio on Chandos. The later of the
> two (8975) describes itself as being a "Newly-recorded fuller version".
>
>
>
> > --
>
> - Show quoted text -- Hide quoted text -
>
> - Show quoted text -
Two to recommend:
1) Jorge Bolet, piano; Victor Martin, violin and Marco Scano, cello.
One of Bolet's very greatest recordings and the string players--who
I've not heard of before or since--at first rate. Recorded in Spain
for EnSayo in 1968--it's LP issue in the US was from Musical Heritage
Society; it had an "unofficial" release on the Dante Label and, I
think, is now available on an offical EnSayo CD release.
2) The Eastman Trio; Barry Snyder, piano, Zvi Zeitlin, violin and
Robert Sylvester, cello. The Trio only existed for about four years--
highly stressed in rehearsal and incredible magic in performance.
They recorded a great deal for Vox--include a wonderful Schubert "Vox
Box" and a Russian Trios set comprising the Tchaikovsky, Rachmaninoff
OP 9, Arensky & something else--Rimsky maybe? The Russian set has been
issued on CD and I can't recommend enough--the Tchaikovsky is
something special. (If you can find it, the LP Snyder and Zeitlin
made of the complete Stravinsky Violin/Piano duos for George
Mendelssohn's successor label--Pantheon--is also well-worth looking
for. I don't think it's ever had a CD release.)
FC
jrs...@aol.com
> 2) The Eastman Trio; Barry Snyder, piano, Zvi Zeitlin, violin and
> Robert Sylvester, cello. The Trio only existed for about four years--
> highly stressed in rehearsal and incredible magic in performance.
> They recorded a great deal for Vox--include a wonderful Schubert "Vox
> Box" and a Russian Trios set comprising the Tchaikovsky, Rachmaninoff
> OP 9, Arensky & something else--Rimsky maybe? The Russian set has been
> issued on CD and I can't recommend enough--the Tchaikovsky is
> something special. (If you can find it, the LP Snyder and Zeitlin
> made of the complete Stravinsky Violin/Piano duos for George
> Mendelssohn's successor label--Pantheon--is also well-worth looking
> for. I don't think it's ever had a CD release.)
>
> FC
Thanks for the reminder about this. I have a hunch anything with
Zeitlin is worth a listen.
--Jeff
jrs...@aol.com
> Sol L. Siegel <vod...@aol.com> appears to have caused the following letters
>
> > The Vladimir Ashkenazy/Perlman/Harrell recording is dull as watching
> > paint dry. I recall that Rubinstein/Heifetz/Piatogorsky make the big
> > cut in the final variation, which automatically eliminates it from
> > contention.
>
> > Speaking of which: Has anyone come up with an online guide to which
> > versions play the work uncut, or don't?
>
> You got there before I did! This is the question I always want to have
> answered about any recording of the piece -- is it what Tchaikovsky
> actually wrote, or is it something that somebody "helped" him with?
>
> I can't believe that people who fuss about minuscule variants among
> Bruckner symphony editions don't care about this issue in minute detail as
> well. Uhhh, except for the fact that they regard Bruckner symphonies as
> great music, and PIT's Trio as not-on-that-level-by-any-means. ;--)
I suspect it has something to do with the perceived merit of the
music, yes, but as much to do with time-honored Russian practices
towards such matters. Cuts in Rachmaninov's second symphony, for
instance, and reorchestrations and cuts in Mussorgsky's music, operas,
etc.
--Jeff
Steve de Mena
I was going to recommend that one too. That was a pleasant surprise.
It is on DG.
Steve
Philip Peters
> On Mar 21, 8:41 am, "HvT" <hvtu...@xs4all.nl> wrote:
>> For reasons I don't quite understand (I don't like Tchaikovsky as a
>> rule) I return once every other week to Tchaikovsky's Op. 50. At the
>> moment I have:
>>
>> Berezovsky, Repin, Yablonsky
>> Oborin, Oistrakh, Knushevitsky
>> Richter, Kagan, Gutman
>> Rubinstein, Heifetz, Piatogorsky
>>
>> What is the next version I should buy?
>>
>> Henk
Yehudi & Hepzibah Menuhin with Maurice Eisenberg (1936). I don't know if
this was reissued as a separate CD, mine is from a Tchaikovsky chamber
music box which you probably don't want to have in the first place.
Philip
Matthew B. Tepper
be typed in news:d91184a2-b501-4d48-9f51-
2ca7c1...@59g2000hsb.googlegroups.com:
> Two to recommend:
>
> 1) Jorge Bolet, piano; Victor Martin, violin and Marco Scano, cello.
> One of Bolet's very greatest recordings and the string players--who
> I've not heard of before or since--at first rate. Recorded in Spain
> for EnSayo in 1968--it's LP issue in the US was from Musical Heritage
> Society; it had an "unofficial" release on the Dante Label and, I
> think, is now available on an offical EnSayo CD release.
Cut, yes or no? For me, another piece of important news is that the EnSayo
label has been revived. May I please have more information on that?
> 2) The Eastman Trio; Barry Snyder, piano, Zvi Zeitlin, violin and Robert
> Sylvester, cello. The Trio only existed for about four years-- highly
> stressed in rehearsal and incredible magic in performance. They recorded a
> great deal for Vox--include a wonderful Schubert "Vox Box" and a Russian
> Trios set comprising the Tchaikovsky, Rachmaninoff OP 9, Arensky &
> something else--Rimsky maybe? The Russian set has been issued on CD and I
> can't recommend enough--the Tchaikovsky is something special. (If you can
> find it, the LP Snyder and Zeitlin made of the complete Stravinsky
> Violin/Piano duos for George Mendelssohn's successor label--Pantheon--is
> also well-worth looking for. I don't think it's ever had a CD release.)
Thanks!
mrd
> francis <sowerby...@aol.com> appears to have caused the following letters to
> be typed in news:d91184a2-b501-4d48-9f51-
>
> > Two to recommend:
>
> > 1) Jorge Bolet, piano; Victor Martin, violin and Marco Scano, cello.
> > One of Bolet's very greatest recordings and the string players--who
> > I've not heard of before or since--at first rate. Recorded in Spain
> > for EnSayo in 1968--it's LP issue in the US was from Musical Heritage
> > Society; it had an "unofficial" release on the Dante Label and, I
> > think, is now available on an offical EnSayo CD release.
>
> Cut, yes or no? For me, another piece of important news is that the EnSayo
> label has been revived. May I please have more information on that?
>
> > 2) The Eastman Trio; Barry Snyder, piano, Zvi Zeitlin, violin and Robert
> > Sylvester, cello. The Trio only existed for about four years-- highly
> > stressed in rehearsal and incredible magic in performance. They recorded a
> > great deal for Vox--include a wonderful Schubert "Vox Box" and a Russian
> > Trios set comprising the Tchaikovsky, Rachmaninoff OP 9, Arensky &
> > something else--Rimsky maybe? The Russian set has been issued on CD and I
> > can't recommend enough--the Tchaikovsky is something special. (If you can
> > find it, the LP Snyder and Zeitlin made of the complete Stravinsky
> > Violin/Piano duos for George Mendelssohn's successor label--Pantheon--is
> > also well-worth looking for. I don't think it's ever had a CD release.)
>
> Thanks!
>
> --
> Matthew B. Tepper: WWW, science fiction, classical music, ducks!
> My main music page ---http://home.earthlink.net/~oy/berlioz.html
> To write to me, do for my address what Androcles did for the lion
> War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
There is an excellent live recording of the Trio from Carnegie Hall in
1979 with Earl Wild, piano;
Oscar Shumsky, violin and Charles Curtis, cello available from Ivory
Classics. Great playing from
all concerned.
MRD
Misha
Pletnyov/Oliveira/Rosen: Op 50 has become so popular since they
recorded it that you would think this CBS recording would be issued on
cd. I, too, got this for Nathan Rosen's playing, and came to know the
magic of Pletnyov's and Oliveira's parts.
I later heard Rosen at the Library of Congress L Sprague Coolidge
concerts. I had gone wandering about the LOC earlier in the day, and
there was a fellow setting up the display cases in the ante room for
the performances, the Mozart C minor and G minor quintets and the
Brahms sextets, over two days. On display were Mozart's and Brahms's
manuscripts, sigh. After the second performance, one I remember as
among life's stellar concerts (there may be as many of those as there
are one's bosom friends), my friends and I were taking leave of one
another, and Nathan Rosen walked out the door we'd just come through.
We extended heartfelt congratulations. Really satisfying.
Another favorite recording of mine - Lyubov Timofeyev (p) / Maxim
Fedotov (v) / Kirill Rodin an MK 417001 (Mezhdunarodnaya Kniga; 1990
Moscow recording). There are some magic moments in particular with
Timofeyeva's playing. Made me sit up and take notice and back up the
recording the first times I listened: I wanted to catch the magic
again, as it were. Never heard anything else that she or the strings
have done.
T/F/R on MK is fully seven minutes longer than P/O/R on CBS (recorded
1981) and another minute longer than Bolet / Martin / Scano (recorded
73, if I can interpret the LOC number correctly). I have the Musical
Heritage LP. Just about the only thing I have that MH released.
Ah, just remembered another recommendation: Golub / Kaplan / Carr on
Arabesque (?. I think). About the same length as the Russians.
Does anybody like the Beaux Arts in Op 50? Theirs was my introduction
to it, though I no longer have it. In fact, back in the early 70's
theirs was just about the only show in town. Then came Ashkenazy/
Perlman/Harrell and the floodgates opened.
I take it you like Oborin, Oistrakh, Knushevitsky. Nobody's commented
on their playing yet..
Matthew B. Tepper
to be typed in news:62234b2b-a624-4eac-b7d2-
cb5295...@s13g2000prd.googlegroups.com:
> There is an excellent live recording of the Trio from Carnegie Hall in 1979
> with Earl Wild, piano; Oscar Shumsky, violin and Charles Curtis, cello
> available from Ivory Classics. Great playing from all concerned.
Cut or complete?
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
Steve de Mena
> mrd <mrdav...@sprintmail.com> appears to have caused the following letters
> to be typed in news:62234b2b-a624-4eac-b7d2-
> cb5295...@s13g2000prd.googlegroups.com:
>
>> There is an excellent live recording of the Trio from Carnegie Hall in 1979
>> with Earl Wild, piano; Oscar Shumsky, violin and Charles Curtis, cello
>> available from Ivory Classics. Great playing from all concerned.
>
> Cut or complete?
Is this cut very often? How much is excised?
Steve
HvT
"Misha" <misha...@hotmail.com> schreef in bericht
news:7bd8bd2a-5e04-4c02...@u10g2000prn.googlegroups.com...
> I take it you like Oborin, Oistrakh, Knushevitsky. Nobody's commented
> on their playing yet..
Yes, I do like the four versions I have - each has its own unmistakeable
qualities.
Henk
bisr...@compuserve.com
>
> Speaking of which: Has anyone come up with an online guide to which
> versions play the work uncut, or don't?
>
> - Sol L. Siegel, Philadelphia, PA USA
I can only guarantee that the BIS version with the Kempf Trio does
contain every single note.
Best - Robert
Sol L. Siegel
<st...@stevedemena.com> wrote:
>> Cut or complete?
>
>Is this cut very often? How much is excised?
Quite a few recordings of this work take a whopping, and, IMHO,
ruinous cut in the final variation of the second movement. This
variation actually constitutes a large-scale finale in sonata form,
and the cut takes out the entire development, skipping almost directly
to the coda. There are also a couple of less disfiguring snippets
that sometimes get taken in the earlier variations.
A clue: the last variation, if it's on a separate track, should be in
the general vicinity of 12 minutes. If it's much under 10, it's
probably cut.
The cuts do seem to be less common in more recent versions, I believe.
Bob Harper
just before the fugue. What other cuts are common I don't know.
As an aside, I still have the LP (Chandos ABRD 1049), as it is signed by
the members of the Trio, who for several years in the early '80s came to
Portland to perform at Concordia College. Their concerts remain
highlights of my concert-going experiences.
Bob Harper
HvT
<jrs...@aol.com> schreef in bericht
news:8e932d5c-9a5d-40a7...@h11g2000prf.googlegroups.com...
> On Mar 21, 8:41 am, "HvT" <hvtu...@xs4all.nl> wrote:
>> For reasons I don't quite understand (I don't like Tchaikovsky as a
>> rule) I return once every other week to Tchaikovsky's Op. 50. At the
>> moment I have:
>>
>> Berezovsky, Repin, Yablonsky
>> Oborin, Oistrakh, Knushevitsky
>> Richter, Kagan, Gutman
>> Rubinstein, Heifetz, Piatogorsky
>>
>> What is the next version I should buy?
>>
>> Henk
>
> they exceed expectations. It's not just three stars competing for
> attention.
>
> ---Jeff
Many thanks to you all!! I have placed all the performances you
mentioned that are available and on CD on my to buy list.
Henk
Bob Harper
Pletnev-Rosen-Oliviera. Pletnev is spelled Pletnyov on the cover; he
looks about 18 (he was 24), and is actually smiling! A great performance.
Neil
>Richter, Kagan, Gutman
yes yes yes! Fabulous. Ooozes Slav(a) melancholy.
Jan Winter
<misha...@hotmail.com> wrote:
>On Mar 21, 8:41 am, "HvT" <hvtu...@xs4all.nl> wrote:
>> For reasons I don't quite understand (I don't like Tchaikovsky as a
>> rule) I return once every other week to Tchaikovsky's Op. 50. At the
>> moment I have:
>>
>> Berezovsky, Repin, Yablonsky
>> Oborin, Oistrakh, Knushevitsky
>> Richter, Kagan, Gutman
>> Rubinstein, Heifetz, Piatogorsky
>>
>> What is the next version I should buy?
>>
>> Henk
>
>Pletnyov/Oliveira/Rosen: Op 50 has become so popular since they
>recorded it that you would think this CBS recording would be issued on
>cd. I, too, got this for Nathan Rosen's playing, and came to know the
>magic of Pletnyov's and Oliveira's parts.
Pletnyov = Pletnev I suppose?
-----
Jan Winter, Amsterdam
email: name = j.winter; provider = xs4all; com = nl
Jan Winter
Renesse, Nicholas Roth, Georges Roth), recorded in 1952 for DGG
(maybe, after Menuhin and Rubinstein the 3d "complete" recording of
this piece, unless the '39 Igumnov/Oistrach/Knushevitsky one, of which
only the 1st movement is known to exist - I might as well throw in
this one - turns out to be complete after all).
I think this a very good rendition. Broad sound, lots of finesses. Van
Renesse is my favourite unknown pianist - earlier I uploaded his
Forellen 5tet.
As there may not be very many among you who are acquainted with this
recording, here it is:
http://rapidshare.com/files/101539467/op50.rar
Enjoy!
CharlesSmith
Beautiful, thanks! Fabulous piano touch - delicately avoids all the
mud hazards.
Andrej Kluge
Misha schrieb:
> Pletnyov/Oliveira/Rosen: Op 50 has become so popular since they
> T/F/R on MK is fully seven minutes longer than P/O/R on CBS (recorded
> 1981) and another minute longer than Bolet / Martin / Scano (recorded
> 73, if I can interpret the LOC number correctly).
[...]
I have only one version: Pascal Rogé, piano / Pierre Amoyal, violin /
Frédéric Lodeon, cello.
Not being familiar with that work, how is this recording being rated,
compared to the others mentioned?
Ciao
A.
Andrej Kluge
Jan Winter schrieb:
> Pletnyov = Pletnev I suppose?
Yes: the transliteration from Russian is spelled Pletnev (in Russian written
with an "e-umlaut", "ё"), but pronounced Pletnyov.
Ciao
A.
Philip Peters
> I'll throw in another contender: the Budapester Trio (George van
> Renesse, Nicholas Roth, Georges Roth), recorded in 1952 for DGG
> (maybe, after Menuhin and Rubinstein the 3d "complete" recording of
> this piece, unless the '39 Igumnov/Oistrach/Knushevitsky one, of which
> only the 1st movement is known to exist - I might as well throw in
> this one - turns out to be complete after all).
>
> I think this a very good rendition. Broad sound, lots of finesses. Van
> Renesse is my favourite unknown pianist - earlier I uploaded his
> Forellen 5tet.
>
> As there may not be very many among you who are acquainted with this
> recording, here it is:
>
> http://rapidshare.com/files/101539467/op50.rar
>
> Enjoy!
I have it, listened to it again and I agree about its (and Renesse's)
quality.
Philip
Sol L. Siegel
wrote:
>I'll throw in another contender: the Budapester Trio (George van
>Renesse, Nicholas Roth, Georges Roth), recorded in 1952 for DGG...
>
>I think this a very good rendition. Broad sound, lots of finesses. Van
>Renesse is my favourite unknown pianist - earlier I uploaded his
>Forellen 5tet.
>
>As there may not be very many among you who are acquainted with this
>recording, here it is:
>
>http://rapidshare.com/files/101539467/op50.rar
Fine performance indeed - but cut.