Complete Faure Piano Music: Stott or Collard?
gperkins151
one.
Since Stott's seems better perf and sound from the clips that I have
heard, I am leaning in that direction. However Collard's set on
Brilliant is about a third of the price.
I searched the archives, but didn't find enough strong recommendations
here to help me decide. Since Stott's set is relatively new, I thought
I would ask for others' opinion on this.
Thanks!
Gerard
> I have read good things about both of these sets but can only afford
> one.
It's hard to imagine you cannot afford Collard on Brilliant Classics.
So, if you can afford Stott (I did not hear her Fauré), there's reason to
believe you can afford both.
tomdeacon
This is truly a NO-BRAINER!!!
Collard once told me that when he was very young the music of Faure was
performed by members of his family in his native Champagne. (Yes, his
family owns vineyards)
The complete Barcarolles were among the first recordings he made for
EMI France. I remember, they sold for ff 19.90, a very low price for
the time, and they sold very well. EMI was so taken with his
performance of Faure that they commissioned him to continue, and he
went to record the rest of the music for solo piano as well as all the
chamber music with a hand-picked group of the best French players, all
friends of his.
In my opinion nobody has achieved the combination of romantic hue and
classical restraint in this music as well as Collard. If this set is on
Brilliant, then it is a complete bargain.
TD
Vaneyes
Collard.
Regards
JohnGavin
Vaneyes wrote:
> Collard.
>
> Regards
Except that the Collard (at EMI at least) sounds dry as a bone. No
reverb whatsoever, and IMO Faure suffers terribly from this kind of
sound. I found this flaw to be distracting. I would lean towards
Stott on Hyperion.
jwthomas
Since Briliant has taken to remastering at least some of its reissues
(e. g. Gulda's Beethoven) it seems better to actually hear the Collard
set before choosing based on the EMI sound. Surely someone here owns
it.
-John Thomas
Richard Schultz
: Vaneyes wrote:
:> Collard.
: Except that the Collard (at EMI at least) sounds dry as a bone.
You can imagine how much it pains me to agree with Dan Koren, but my objection
to the Collard CD that I bought (the one with the Op. 103 preludes) wasn't
that it sounds dry as a bone, but rather that the interpretation is terrible.
I haven't heard the Stott, but I can't imagine that it could possibly be
much worse.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"All too frequently ornamentations introduced [into the Well-Tempered
Clavier] by players whose taste and skill are not comparable to Bach's
merely resemble the bird droppings that disfigure the statues of great men."
-- Ralph Kirkpatrick
tomdeacon
Richard Schultz wrote:
> In article <1153313718.2...@i42g2000cwa.googlegroups.com>, JohnGavin <dag...@comcast.net> wrote:
> : Vaneyes wrote:
> :> Collard.
>
> : Except that the Collard (at EMI at least) sounds dry as a bone.
>
> You can imagine how much it pains me to agree with Dan Koren, but my objection
> to the Collard CD that I bought (the one with the Op. 103 preludes) wasn't
> that it sounds dry as a bone, but rather that the interpretation is terrible.
> I haven't heard the Stott, but I can't imagine that it could possibly be
> much worse.
Since I am completely indifferent to the level of animosity between
yourself and Dan Koren, I shall simply dismiss your "pain".
Collard has fairly "owned" this corner of the repertoire since he first
recorded it.
The "dryness" you mention in the Op. 103 Preludes, which I play myself,
is completely appropriate. "Wetness" a la Hyperion actually does
enormous damage to this music from the late period of Faure. If you
listen to Casadesus you will also find dryness. If you play it yourself
you will see that is precisely what is needed. To bathe this particular
music in reverberation simply destroys the nature of the writing
itself.
Stott romanticises this music in the manner of a Victorian matron
cooing her way through Debussy.
ARGH!!!
This is a no-brainer.
Collard dominates the entire repertoire. Even Heidsieck's two versions
of the Nocturnes don't come close to achieving the nice balance he does
between objectivity - the Marguerite Long school - and romanticism -
the taffy-pull school. Long studied the music with the composer and set
the tone for decades of dry as dust Faure, but Collard takes elements
of that approach and seamlessly integrates it with the natural
romanticism of the music.
At the Brilliant price, there is no reason whatsoever to hesitate.
TD
gperkins151
Thanks for all of your replies thus far! I have just about decided to
get the Collard set, especially after reading the above post. After
visiting the archives I have found 8 votes for Collard's Faure (with 4
or so having heard Stott but preferring Collard).
Ian Pace
"tomdeacon" <tomde...@yahoo.ca> wrote in message
news:1153324592.3...@75g2000cwc.googlegroups.com...
>
> Collard dominates the entire repertoire. Even Heidsieck's two versions
> of the Nocturnes don't come close to achieving the nice balance he does
> between objectivity - the Marguerite Long school - and romanticism -
> the taffy-pull school.
I like Collard very much in this repertoire as well. But what is the
'taffy-pull school'????
Ian
Jan Werner
gperk...@yahoo.com says...
What I have heard of Stott was pleasant but not particularly memorable.
On the other hand Collard is wonderful in this music. Haven't seen the
Brilliant reissue, but I have the EMI and the sound is not that bad.
Collard has also recorded all the Faure chamber music for piano & other
instruments, and that is also worth getting if you can find it.
Jan Werner
gperkins151
Jan Werner wrote:
> What I have heard of Stott was pleasant but not particularly memorable.
> On the other hand Collard is wonderful in this music. Haven't seen the
> Brilliant reissue, but I have the EMI and the sound is not that bad.
I just heard Collard and Stott at a local B+N. I compared some
Nocturnes, Impromptus and Barcarolles. To my ears, its really no
contest. Collard's tempo choices seem perfect for the music. His tone
is certainly superior as well. Most of all, I like his less romanticed
approach. Stott's greater dynamic range seems to destroy the delicate
nature of the music. So it shall be Collard for me as well.
Thanks to all who helped!
tomdeacon
Is it so hard to imagine, Ian?
Some pianists, not trusting this music to, dare I say, speak for
itself, decide to pull the music about, swooning and mooning their way
through the notes in an oh, so sensitive manner. It is romanticism of
the rouged up variety, truly loathsome if you know and respect and love
this music. Admittedly, Faure is an acquired taste, but once you have a
taste for it, its beauty becomes more and more intense.
Stott doesn't swoon too much, but I can only take so much of her
"prettifying" of this music, which is already tinged with the
atmosphere of the salon.
TD
gperkins151
> Some pianists, not trusting this music to, dare I say, speak for
> itself, decide to pull the music about, swooning and mooning their way
> through the notes in an oh, so sensitive manner. It is romanticism of
> the rouged up variety, truly loathsome if you know and respect and love
> this music. Admittedly, Faure is an acquired taste, but once you have a
> taste for it, its beauty becomes more and more intense.
>
> Stott doesn't swoon too much, but I can only take so much of her
> "prettifying" of this music, which is already tinged with the
> atmosphere of the salon.
>
> TD
I think you may be giving her more credit than she deserves. From what
I have heard, albeit in only 20 samples or so, she's far too virtuostic
with this music. Her artistic taste is poor with respect to tempos and
her tone cannot match Collard's. She manhandles these works, while
Collard treats the music with FAR more respect. To my ears, her
beautified Faure is MUCH less beautiful than Collard's, I think that
you already said that earlier. Thanks for your posts earlier today, I
ordered the Collard set this evening and anxiously await its arrival.
Richard Schultz
: What I have heard of Stott was pleasant but not particularly memorable.
: On the other hand Collard is wonderful in this music.
The G minor prelude contains a simple theme (basically a descending scale)
that is heartbreaking in its beauty. The notes to the Collard version
refer to it as a comic (!) waltz theme. When I read that, I felt more or
less the way I felt the time I was given directions to a building in which
I was scheduled to give a lecture that included its being across the street
from a concert hall that had been demolished several years previously. When
I asked, "Didn't they tear down that building years ago and replace it with
a parking lot?" the person insisted that it was still standing, and I found
myself thinking that one of us is clearly insane, and I hope that it's not me.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"an optimist is a guy/ that has never had/ much experience"
Steven de Mena
>
> Ian Pace wrote:
>> "tomdeacon" <tomde...@yahoo.ca> wrote in message
>> news:1153324592.3...@75g2000cwc.googlegroups.com...
>> >
>> > Collard dominates the entire repertoire. Even Heidsieck's two versions
>> > of the Nocturnes don't come close to achieving the nice balance he does
>> > between objectivity - the Marguerite Long school - and romanticism -
>> > the taffy-pull school.
FYI, This Brilliant set is only $16 and change at Tower Records online in
the U.S. Spend a little over $3 more and get free shipping.
http://www.towerrecords.com/product.aspx?pfid=4112597
Steve
gperkins151
Steven de Mena wrote:
> FYI, This Brilliant set is only $16 and change at Tower Records online in
> the U.S. Spend a little over $3 more and get free shipping.
>
> http://www.towerrecords.com/product.aspx?pfid=4112597
>
> Steve
Amazon actually has it for less than $16 incl. shipping. (More
competition I suppose).
tomdeacon
Richard Schultz wrote:
> I found myself thinking that one of us is clearly insane, and I hope that it's not me.
Please. Enough straight lines for today.
TD
Steven de Mena
"gperkins151" <gperk...@yahoo.com> wrote in message
news:1153393067....@h48g2000cwc.googlegroups.com...
I see it for $18.98 (not including shipping) from Amazon.
Steve
gperkins151
I am sorry. When I refer to Amazon, I mean all the sellers. In this
case its caiman, on Amazon.
Dan Koren
news:e9lf9u$u77$2...@news.iucc.ac.il...
> In article <1153313718.2...@i42g2000cwa.googlegroups.com>,
> JohnGavin <dag...@comcast.net> wrote:
> : Vaneyes wrote:
> :> Collard.
>
> : Except that the Collard (at EMI at least) sounds dry as a bone.
>
> You can imagine how much it pains me to agree with Dan Koren, but my
> objection
> to the Collard CD that I bought (the one with the Op. 103 preludes) wasn't
> that it sounds dry as a bone, but rather that the interpretation is
> terrible.
> I haven't heard the Stott, but I can't imagine that it could possibly be
> much worse.
>
Congrats.
dk
Sam
wrote:
>> You can imagine how much it pains me to agree with Dan Koren, but my
>> objection
>> to the Collard CD that I bought (the one with the Op. 103 preludes) wasn't
>> that it sounds dry as a bone, but rather that the interpretation is
>> terrible.
>> I haven't heard the Stott, but I can't imagine that it could possibly be
>> much worse.
>>
>
>
>Congrats.
>
>
>
>dk
>
These aren't the only choices. I have 5 discs where Paul Crossley
does most if not all of the Faure piano music and I find them
excellent. (Takes cover.)
tomdeacon
No reason to take cover, Sam.
Crossley is a fine interpreter of French music.
The problem is that you have no frame of reference. Collard is simply
much better in this music. Stott should have stuck to her knitting.
TD
Sam
wrote:
>> These aren't the only choices. I have 5 discs where Paul Crossley
>> does most if not all of the Faure piano music and I find them
>> excellent. (Takes cover.)
>
>No reason to take cover, Sam.
>
>Crossley is a fine interpreter of French music.
>
>The problem is that you have no frame of reference. Collard is simply
>much better in this music. Stott should have stuck to her knitting.
I do have some references. Horowitz doing a few nocturnes and a Rogé
disc of selections. All very enjoyable. Besides Stott, are there
other ones to definitely avoid?
Steve Emerson
"gperkins151" <gperk...@yahoo.com> wrote:
Sure, pick up the Collard -- some of it is quite good. Just know that if
you are disappointed at any point, the problem may be Collard and not
the music. That goes especially for the Nocturnes IMO -- there is much
more to the works than JPC appears to realize; presumptuous though the
remark may seem. There are strong, often preferable Fauré recordings
(none of these in complete sets) by Heidsieck, Long, Horowitz, Sevilla
(Preludes), Sanchez, and even in some cases Grant Johannsen, a
specialist of the '60s. Kempff seems to have had a good feeling for many
aspects of the work, but like nearly everyone else, recorded little of
it. Jean Hubeau, theoretically promising, I have still not heard. One
thing you want to avoid is the Naxos recordings, done by two different
musicians who are both non-satisfying.
SE.
gperkins151
Thanks Steve! I thought Heidsieck's nocturnes were complete? Also, have
you heard Stott?
Steve Emerson
"gperkins151" <gperk...@yahoo.com> wrote:
> Thanks Steve! I thought Heidsieck's nocturnes were complete?
Yes, they are. What he doesn't have is a complete set of the piano
works. The Barcarolles and Nocturnes yes, probably a few other things.
> Also, have you heard Stott?
Some but not all. What I heard did not excite me.
SE.
gperkins151
> > Also, have you heard Stott?
>
> Some but not all. What I heard did not excite me.
me neither, her approach is too virtuostic for my taste. Huge dynamic
range that spoils the mood IMO.
tomdeacon
Steve Emerson wrote:
> Sure, pick up the Collard -- some of it is quite good. Just know that if
> you are disappointed at any point, the problem may be Collard and not
> the music. That goes especially for the Nocturnes IMO -- there is much
> more to the works than JPC appears to realize; presumptuous though the
> remark may seem. There are strong, often preferable Fauré recordings
> (none of these in complete sets) by Heidsieck
Very dry.
, Long
Even drier.
, Horowitz
Too little to make any difference.
, Sevilla (Preludes)
Excuse me? Angela Hewitt's teacher? Again dry as dust.
, Sanchez
Just competent, no more.
, and even in some cases Grant Johannsen
Again dry as dust, and completely uncompetitive.
, a specialist of the '60s
Quite. And both overrated and outdated.
. Kempff seems to have had a good feeling for many
> aspects of the work, but like nearly everyone else, recorded little of
> it.
You mean ONE single piece? The 6th Nocturne.
Jean Hubeau, theoretically promising, I have still not heard
Just up your alley. Dry as dust again. Immensely competent.
. One thing you want to avoid is the Naxos recordings, done by two
different
> musicians who are both non-satisfying.
Quite true.
But Collard will satisfy all needs, leaving Messrs. Hubeau, Johannsen,
Horowitz, Sevilla, and Heidsieck to the dustbin of history.
As for Madame Long, well, she, too, recorded precious little. I would
advise purchase of the little she did record, just so as to appreciate
Collard all the more.
TD
gperkins151
tomdeacon wrote:
> TD
So Tom, what about Thyssens-Valentin?
What do you think of her Faure?
Richard Schultz
: On Thu, 20 Jul 2006 21:52:31 -0700, "Dan Koren" <dank...@yahoo.com>
: wrote:
:>> You can imagine how much it pains me to agree with Dan Koren, but my
:>> objection to the Collard CD that I bought (the one with the Op. 103
:>> preludes) wasn't that it sounds dry as a bone, but rather that the
:>> interpretation is terrible.
:>> I haven't heard the Stott, but I can't imagine that it could possibly be
:>> much worse.
:>Congrats.
: These aren't the only choices. I have 5 discs where Paul Crossley
: does most if not all of the Faure piano music and I find them
: excellent. (Takes cover.)
Then there's the old set (two Vox Boxes) of Evelyn Crochet performing the
Complete Piano Music of Gabriel Faure. I don't know if that set was ever
issued on CD.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
It's a bird, it's a plane -- no, it's Mozart. . .
Richard Schultz
: On 21 Jul 2006 05:31:42 -0700, "tomdeacon" <tomde...@yahoo.ca>
: I do have some references. Horowitz doing a few nocturnes and a Rog?
: disc of selections. All very enjoyable. Besides Stott, are there
: other ones to definitely avoid?
Collard.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"You go on playing Bach your way, and I'll go on playing him *his* way."
-- Wanda Landowska
Richard Schultz
: . . . One thing you want to avoid is the Naxos recordings, done by two
: different musicians who are both non-satisfying.
We are the chorus, and we agree. We agree, we agree, we agree.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
". . . Mengelberg was not the kind of artist who would let us walk home
after a concert with the feeling of having experienced an extraordinary
musical event."
-- Max Rudolf, _The Grammar of Conducting_
Henk van Tuijl
"Richard Schultz"
<sch...@mail.biu.ack.il> schreef in
bericht
news:e9usvm$lau$2...@news.iucc.ac.il...
And there is the complete set of Jean
Doyen - once available on CD but
now probably OOP. I had some of it on LP
and preferred Doyen to Grant Johanssen.
Henk
--------------------------------------------------------------------------------
Mijn Postvak In wordt beschermd door
SPAMfighter
147 spam-mails zijn er tot op heden
geblokkeerd.
Download de gratis SPAMfighter vandaag
nog!
--------------------------------------------------------------------------------
Mijn Postvak In wordt beschermd door
SPAMfighter
147 spam-mails zijn er tot op heden
geblokkeerd.
Download de gratis SPAMfighter vandaag
nog!
Dan Koren
news:npf1c2p24u3qqss9f...@4ax.com...
> On Thu, 20 Jul 2006 21:52:31 -0700, "Dan Koren" <dank...@yahoo.com>
> wrote:
>
>>> You can imagine how much it pains me to agree with Dan Koren, but my
>>> objection
>>> to the Collard CD that I bought (the one with the Op. 103 preludes)
>>> wasn't
>>> that it sounds dry as a bone, but rather that the interpretation is
>>> terrible.
>>> I haven't heard the Stott, but I can't imagine that it could possibly be
>>> much worse.
>>
>> Congrats.
>>
The real problem is that there are no choices.
Most recording of Faure's piano music
are plain horrible, including Collard's.
dk
Dan Koren
"Richard Schultz" <sch...@mail.biu.ack.il> wrote in message
news:e9ut2p$lau$4...@news.iucc.ac.il...
> In article <emersn-B05D5E....@nnrp-virt.nntp.sonic.net>, Steve
> Emerson <eme...@nospamsonic.net> wrote:
>
> : . . . One thing you want to avoid is the Naxos recordings, done by two
> : different musicians who are both non-satisfying.
>
> We are the chorus, and we agree. We agree, we agree, we agree.
>
Louder!
dk
Dan Koren
"gperkins151" <gperk...@yahoo.com> wrote in message
news:1153535405.2...@i42g2000cwa.googlegroups.com...
Very small scale and prissy.
In my opinion, it stinks.
dk
Raymond Hall
news:44c9bd5f$1...@news.meer.net...
I can remember Albert Ferber's playing as being of a quality that lured me
to Faure's piano music. Twas on the old Saga label, the very same label that
used to carry some recordings by Hatto and Fiorentino.
Any thoughts on Ferber? Maybe not available anymore.
Ray H
Taree, NSW
alanwa...@aol.com
>
> I can remember Albert Ferber's playing as being of a quality that lured me
> to Faure's piano music. Twas on the old Saga label, the very same label that
> used to carry some recordings by Hatto and Fiorentino.
>
> Any thoughts on Ferber? Maybe not available anymore.
>
> Ray H
> Taree, NSW
I have that LP along with some Beethoven he did. A fine player who, I
believe, is still alive.
There is one Faure piece (Impromptu No 2), Satie Gymnopedies and some
Debussy on this:
CDE84417 A FRENCH COLLECTION Songs by Bizet, Chabrier, Chaussen,
Delibes, Dupont, Franck etc. Martyn Hill, Graham Johnston, Albert
Ferber. Meridian £12.50 £10.64 ex.vat
CD / Meridian
I do not think he was a prolific recording artist. He is still listed
on the Concert Artist "roster" so there may be something to come,
perhaps.
Kind regards,
Alan M. Watkins
Richard Loeb
news:1154083994.6...@p79g2000cwp.googlegroups.com...
I thought there was a complete recordong on VOX lps which received very good
reviews - I don;t recall the pianist though Richard
alanwa...@aol.com
> I thought there was a complete recordong on VOX lps which received very good
> reviews - I don;t recall the pianist though Richard
There was - two LP boxes of Faure's complete piano music played very
well indeed by the French pianist Evelyne Crochet who now lives in New
York. I have the LPs but I have no idea whether they ever made it to
CD.
If they have they are well worth seeking out I would say.
Raymond Hall
news:1154083994.6...@p79g2000cwp.googlegroups.com...
>
> I can remember Albert Ferber's playing as being of a quality that lured me
> to Faure's piano music. Twas on the old Saga label, the very same label
> that
> used to carry some recordings by Hatto and Fiorentino.
>
> Any thoughts on Ferber? Maybe not available anymore.
>
> Ray H
> Taree, NSW
-I have that LP along with some Beethoven he did. A fine player who, I
-believe, is still alive.
-There is one Faure piece (Impromptu No 2), Satie Gymnopedies and some
-Debussy on this:
-CDE84417 A FRENCH COLLECTION Songs by Bizet, Chabrier, Chaussen,
-Delibes, Dupont, Franck etc. Martyn Hill, Graham Johnston, Albert
-Ferber. Meridian £12.50 £10.64 ex.vat
-CD / Meridian
-I do not think he was a prolific recording artist. He is still listed
-on the Concert Artist "roster" so there may be something to come,
-perhaps.
There should be a lot more of his Faure.
This was sometime back when the Saga label was readily available in the UK.
I definitely remember an LP which had all Faure on it done by Ferber, and I
believe Ferber did nearly all of Faure's piano works. Livia Rev was around
too, and a fine pianist also. The artists that appeared then, late 60s,
early 70s, like Ferber, Hatto and Fiorentino, on labels like the Saga label
were really all gems of artists just waiting to be discovered 30 years on,
being side swiped and swept aside by the then vogue to promote the piano
competition winner brigade, who were consequently hyped up to the gills, and
marketed, to the detriment of the Hattos and Fiorentinos and the Ferbers and
the Revs. C'est la vie. Truth always wins out in the end though.
Ray H
Taree, NSW
alanwa...@aol.com
Hmmm...and Miss Rev, Mr Ferber, Mr Fiorentino and Mr Pouishnoff all
"discovered" and recorded by the same man, the husband of Joyce Hatto.
What an amazing coincidence. First person to record Berman as well.
tomdeacon
alanwa...@aol.com wrote:
> Hmmm...and Miss Rev, Mr Ferber, Mr Fiorentino and Mr Pouishnoff all
> "discovered" and recorded by the same man, the husband of Joyce Hatto.
> What an amazing coincidence. First person to record Berman as well.
No coincidence at all.
Incidentally, I have all of the Ferber LPs I could find at the time,
including that outstanding Faure album, as well as the early Livia Rev
LPs, made before she was taken up by Hyperion. The Fiorentino catalogue
is so incredibly enormous - this from Ernst Lumpe's complete
discography - that I must have only seen bits and pieces of it at the
time on LP.
TD
gperkins151
tomdeacon wrote:
> gperkins151 wrote:
> > I have read good things about both of these sets but can only afford
> > one.
> > Since Stott's seems better perf and sound from the clips that I have
> > heard, I am leaning in that direction. However Collard's set on
> > Brilliant is about a third of the price.
> > I searched the archives, but didn't find enough strong recommendations
> > here to help me decide. Since Stott's set is relatively new, I thought
> > I would ask for others' opinion on this.
>
> This is truly a NO-BRAINER!!!
>
> Collard once told me that when he was very young the music of Faure was
> performed by members of his family in his native Champagne. (Yes, his
> family owns vineyards)
>
> The complete Barcarolles were among the first recordings he made for
> EMI France. I remember, they sold for ff 19.90, a very low price for
> the time, and they sold very well. EMI was so taken with his
> performance of Faure that they commissioned him to continue, and he
> went to record the rest of the music for solo piano as well as all the
> chamber music with a hand-picked group of the best French players, all
> friends of his.
>
> In my opinion nobody has achieved the combination of romantic hue and
> classical restraint in this music as well as Collard. If this set is on
> Brilliant, then it is a complete bargain.
>
> TD
Thanks Tom! This Is a truly great set, I have heard all but a few
tracks and I very much enjoy the playing. I would recommend this set to
anyone looking for Faure piano music.
mdhjwh
tomdeacon wrote:
> The "dryness" you mention in the Op. 103 Preludes, which I play myself,
> is completely appropriate. "Wetness" a la Hyperion actually does
> enormous damage to this music from the late period of Faure. If you
> listen to Casadesus you will also find dryness. If you play it yourself
> you will see that is precisely what is needed. To bathe this particular
> music in reverberation simply destroys the nature of the writing
> itself.
>
I find this a very peculiar assertion. Are you saying that you would
refuse to perform , or listent to, any of the Faure piano repertiore in
a larger space with any amount of reverberation? Seems to me this
constitutes a claim that this music really is only for m'ladies
chamber.
There's also an implied necessity this repertoire only ever be listened
to, from recordings, when replayed in a very well damped listening
room.
I may be missing the point here though if it's the sustain pedal on the
instrument itself that's being referred to by "Wetness". If so, then
I'm on the dry side too.
gggg...@gmail.com
> I have read good things about both of these sets but can only afford
> one.
> Since Stott's seems better perf and sound from the clips that I have
> heard, I am leaning in that direction. However Collard's set on
> Brilliant is about a third of the price.
> I searched the archives, but didn't find enough strong recommendations
> here to help me decide. Since Stott's set is relatively new, I thought
> I would ask for others' opinion on this.
> Thanks!
Cortot
Herman
I'm a big fa of Heidsieck's Nocturnes and Barcarolles.
tomdeacon
sense and sensibility is critical.
Heidsieck is good, but Collard just better, in my opinion.
--
TD
Bozo
> Fauré, where the balance between
> sense and sensibility is critical.
> Heidsieck is good, but Collard just better, in my opinion.
>
Lewis Perin
do better than Poulenc. How about a composer whose music is more often
interesting? I’m thinking of Rameau. And Debussy’s sense of humor
shines through occasionally, too.
/Lew
---
Lew Perin / pe...@acm.org
http://babelcarp.org
Bozo
> If the French musical champion must have a sense of humor ,we can still
> do better than Poulenc.
tray...@gmail.com
Please check out the rilliant French pianist Germaine Thyssens-Valentin to hear how Faure should sound. Testament CDs has 4 separate CDs with just about everything Faure ever wrote for solo piano. If you don't know Ms. V-T, read Wikepedia below:
http://en.wikipedia.org/wiki/Germaine_Thyssens-Valentin
Christopher Webber
> Please check out the rilliant French pianist Germaine Thyssens-Valentin to hear how Faure should sound.
quality, though, is ... well, an "acquired taste".
And I am not sure that "should" is the 'mot juste' when it comes to
music as rich and diverse - and as open to many different paths - as
Faure's for piano.
tomdeacon
also own several Charlin LPs and CDs she made after the ones released on
Testament.
Still, I prefer Collard. IF Ferber had made an intégrale I might have been
persuaded to prefer him over Collard, but he didn't.
--
TD
gggg...@gmail.com
tomdeacon
Too hard.
--
TD
gggg...@gmail.com
> I have read good things about both of these sets but can only afford
> one.
> Since Stott's seems better perf and sound from the clips that I have
> heard, I am leaning in that direction. However Collard's set on
> Brilliant is about a third of the price.
> I searched the archives, but didn't find enough strong recommendations
> here to help me decide. Since Stott's set is relatively new, I thought
> I would ask for others' opinion on this.
> Thanks!
- A revelation; a masterly set
http://users.ece.utexas.edu/~perry/fun/music/pgr-comp.html
Herman
>
> Of Stott, Penguin gave it a rosette and said:
>
>
>
> - A revelation; a masterly set
>
