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Favorite Bach English Suites
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JohnGavin
Mar 25, 2014, 2:17:08 PM3/25/14
to
Listening to various versons, both complete sets and individual suites, I've arrived at a favorite piano version and harpsichord version. These will not be everyone's favorites - this I already know, but here goes:
6 English Suites (Piano) - Murray Perahia
I have greatly warmed up to Murray P's Bach, partcularly after hearing Schiff, Koroliov, Feltsman and others. I've chosen Perahia because there is an inherent modesty in his approach that wears well to my sensibilities. Yes, it is middle of the road, interpretively speaking, but beautifully executed and realized. There is always an musical common sense present which never fails him. I prefer this to more assertive approaches. Perahia always keeps a beautiful balance of voicing, allowing the listener to hear everything, without the constant manipulations of other pianists (I.e. Schiff). I particularly like the way Sony has captured the piano sound in these recordings.
6 English Suites (Harpsichord) - Helmut Walcha
Walcha is an absolute marvel in the English Suites - the best of his harpsichord recordings by far. There is an unyielding intensity here that is uncharacteristically white hot (for Walcha). For me, one of the great harpsichord recordings of all time. The Ammer harpsichord, a modern instrument, will be disdained by purists, but for me it sounds spectacular - organ like, and Walcha uses the stops tastefully and frequently, always providing color changes that suit the music perfectly. EMI captured the sound of the instrument perfectly.
Two recordings of individual suites that are favorites of mine are:
#2 - Alicia de Larrocha
#3 - Robert Edward Smith (harpsichord)
6 English Suites (Piano) - Murray Perahia
I have greatly warmed up to Murray P's Bach, partcularly after hearing Schiff, Koroliov, Feltsman and others. I've chosen Perahia because there is an inherent modesty in his approach that wears well to my sensibilities. Yes, it is middle of the road, interpretively speaking, but beautifully executed and realized. There is always an musical common sense present which never fails him. I prefer this to more assertive approaches. Perahia always keeps a beautiful balance of voicing, allowing the listener to hear everything, without the constant manipulations of other pianists (I.e. Schiff). I particularly like the way Sony has captured the piano sound in these recordings.
6 English Suites (Harpsichord) - Helmut Walcha
Walcha is an absolute marvel in the English Suites - the best of his harpsichord recordings by far. There is an unyielding intensity here that is uncharacteristically white hot (for Walcha). For me, one of the great harpsichord recordings of all time. The Ammer harpsichord, a modern instrument, will be disdained by purists, but for me it sounds spectacular - organ like, and Walcha uses the stops tastefully and frequently, always providing color changes that suit the music perfectly. EMI captured the sound of the instrument perfectly.
Two recordings of individual suites that are favorites of mine are:
#2 - Alicia de Larrocha
#3 - Robert Edward Smith (harpsichord)
Dana John Hill
Mar 25, 2014, 3:02:20 PM3/25/14
to
On 3/25/2014 2:17 PM, JohnGavin wrote:
> Listening to various versons, both complete sets and individual
> suites, I've arrived at a favorite piano version and harpsichord
> version. These will not be everyone's favorites - this I already
> know, but here goes:
>
> 6 English Suites (Piano) - Murray Perahia
>
> I have greatly warmed up to Murray P's Bach, partcularly after
> hearing Schiff, Koroliov, Feltsman and others. I've chosen Perahia
> because there is an inherent modesty in his approach that wears well
> to my sensibilities. Yes, it is middle of the road, interpretively
> speaking, but beautifully executed and realized. There is always an
> musical common sense present which never fails him. I prefer this to
> more assertive approaches. Perahia always keeps a beautiful balance
> of voicing, allowing the listener to hear everything, without the
> constant manipulations of other pianists (I.e. Schiff). I
> particularly like the way Sony has captured the piano sound in these
> recordings.
My preferred piano version, too, for many of the reasons you cite. I
> Listening to various versons, both complete sets and individual
> suites, I've arrived at a favorite piano version and harpsichord
> version. These will not be everyone's favorites - this I already
> know, but here goes:
>
> 6 English Suites (Piano) - Murray Perahia
>
> I have greatly warmed up to Murray P's Bach, partcularly after
> hearing Schiff, Koroliov, Feltsman and others. I've chosen Perahia
> because there is an inherent modesty in his approach that wears well
> to my sensibilities. Yes, it is middle of the road, interpretively
> speaking, but beautifully executed and realized. There is always an
> musical common sense present which never fails him. I prefer this to
> more assertive approaches. Perahia always keeps a beautiful balance
> of voicing, allowing the listener to hear everything, without the
> constant manipulations of other pianists (I.e. Schiff). I
> particularly like the way Sony has captured the piano sound in these
> recordings.
like Perahia's way with Bach (in the solo works, anyhow). I am hoping a
WTC is somewhere in the future.
>
> 6 English Suites (Harpsichord) - Helmut Walcha
>
> Walcha is an absolute marvel in the English Suites - the best of his
> harpsichord recordings by far. There is an unyielding intensity here
> that is uncharacteristically white hot (for Walcha). For me, one of
> the great harpsichord recordings of all time. The Ammer harpsichord,
> a modern instrument, will be disdained by purists, but for me it
> sounds spectacular - organ like, and Walcha uses the stops tastefully
> and frequently, always providing color changes that suit the music
> perfectly. EMI captured the sound of the instrument perfectly.
>
harpsichords, but often find that the sound captured on disc causes
fatigue when listened to in long sessions.
Dana John Hill
Gainesville, Florida
howie...@btinternet.com
Mar 25, 2014, 3:51:25 PM3/25/14
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http://www.citedelamusiquelive.tv/concert/1015032/pierre-hantai-johann-sebastian-bach.html
laraine
Mar 25, 2014, 7:19:29 PM3/25/14
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On Tuesday, March 25, 2014 1:17:08 PM UTC-5, JohnGavin wrote:
> Listening to various versons, both complete sets and individual suites, I've arrived at a favorite piano version and harpsichord version.
Angela Hewitt seems quite expert at handling the large scale nature of the English Suite:
> Listening to various versons, both complete sets and individual suites, I've arrived at a favorite piano version and harpsichord version.
#6 (Part 1 of 3)
https://www.youtube.com/watch?v=Bnkji3Sf_OY
She did get a Juno award on her complete recording of them anyway.
If I were going to buy something from her (and I likely will), my first purchase would be these.
C.
Bozo
Mar 25, 2014, 7:28:45 PM3/25/14
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>On Tuesday, March 25, 2014 1:17:08 PM UTC-5, JohnGavin wrote:
> Listening to various versons,
> Listening to various versons,
> 6 English Suites (Piano) - Murray Perahia
>
Schiff on Decca ?!
>
Tom Deacon
Mar 25, 2014, 9:18:45 PM3/25/14
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that a filler for something on 78s by another artist? Fischer's WTC,
perhaps? I forget.
--
TD
Bob Harper
Mar 25, 2014, 9:36:31 PM3/25/14
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http://tinyurl.com/kbsureq
The Prelude is electrifying, and the rest just fine as well.
Bob Harper
Terry
Mar 25, 2014, 10:26:29 PM3/25/14
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In article <22a060cd-cf58-496e...@googlegroups.com>,
The recent recording by Pascal Dubreuil (on Ramee) is outstanding in
every way, and has shot to the top of my list. Full of character, and
played on a superb copy by Titus Crijnen of a Ruckers II instrument.
The recording quality is exemplary. Anyone who fancies the English
Suites should hear this.
every way, and has shot to the top of my list. Full of character, and
played on a superb copy by Titus Crijnen of a Ruckers II instrument.
The recording quality is exemplary. Anyone who fancies the English
Suites should hear this.
howie...@btinternet.com
Mar 26, 2014, 4:22:47 AM3/26/14
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Let me explain why I prefer Haugsand. These suites contain an Italian style preludes planted on top of a series of French dances. An uneasy cohabitation from a political point of view in the 17th century -- these suites encode a message about transcending racial differences. The music is often contrapuntally inventive, giving the performer the possibility to express the tensions, and resolutions of tensions, involved in making the entente cordiale work.These are the work of a young man, and I sense that at the time of the composition Bach was burning with ideas, and not just musical ones.
It was Ketil Haugsand's recording which led me to this view of the music. Dubreuil's readings sound more conventional to me, more mainstream, and hence more limited in vision.
howie...@btinternet.com
Mar 26, 2014, 4:27:47 AM3/26/14
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kirkmc
Mar 26, 2014, 5:57:33 AM3/26/14
to
Two I like a lot:
Andras Schiff, piano
Edward Parmentier, harpsichord
Kirk
jrsnfld
Mar 26, 2014, 1:09:29 PM3/26/14
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On Wednesday, March 26, 2014 1:22:47 AM UTC-7, howie...@btinternet.com wrote:
> Let me explain why I prefer Haugsand. These suites contain an Italian style preludes planted on top of a series of French dances. An uneasy cohabitation from a political point of view in the 17th century -- these suites encode a message about transcending racial differences. The music is often contrapuntally inventive, giving the performer the possibility to express the tensions, and resolutions of tensions, involved in making the entente cordiale work.These are the work of a young man, and I sense that at the time of the composition Bach was burning with ideas, and not just musical ones.
>
> It was Ketil Haugsand's recording which led me to this view of the music. Dubreuil's readings sound more conventional to me, more mainstream, and hence more limited in vision.
I'm not sure I want to carry all that sociopolitical baggage when listening to the English Suites, but perhaps because it does well as "young man's" music I've always counted as favorites Ivo Pogorelich's DG recording of the 2nd and 3rd Suites. I can sense the burning of ideas as well as fingertips.
> Let me explain why I prefer Haugsand. These suites contain an Italian style preludes planted on top of a series of French dances. An uneasy cohabitation from a political point of view in the 17th century -- these suites encode a message about transcending racial differences. The music is often contrapuntally inventive, giving the performer the possibility to express the tensions, and resolutions of tensions, involved in making the entente cordiale work.These are the work of a young man, and I sense that at the time of the composition Bach was burning with ideas, and not just musical ones.
>
> It was Ketil Haugsand's recording which led me to this view of the music. Dubreuil's readings sound more conventional to me, more mainstream, and hence more limited in vision.
--Jeff
Message has been deleted
howie...@btinternet.com
Mar 26, 2014, 4:04:41 PM3/26/14
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Frank Lekens
Mar 26, 2014, 6:19:35 PM3/26/14
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howie...@btinternet.com schreef op 26-3-2014 20:44:
> I agree it's good piano playing, as is the one that Argerich plays and the ones that Richter plays and indeed the ones that Perahia plays. But to really hear how well this music can be made to be on a modern piano, go to Rubsam.
>
I very much like Pogorelich' and Argerich' English suites, but what
little I've heard of Rubsam I found rather boring.
Feltsman's aren't bad, but my favourite English suites (next to
Pogorelich, and also not complete, unfortunately) are probably Stanislav
Bunin's.
--
Frank Lekens
http://fmlekens.home.xs4all.nl/
> On Wednesday, 26 March 2014 17:09:29 UTC, jrsnfld wrote:
>
I very much like Pogorelich' and Argerich' English suites, but what
little I've heard of Rubsam I found rather boring.
Feltsman's aren't bad, but my favourite English suites (next to
Pogorelich, and also not complete, unfortunately) are probably Stanislav
Bunin's.
--
Frank Lekens
http://fmlekens.home.xs4all.nl/
Johannes Roehl
Mar 27, 2014, 5:16:24 AM3/27/14
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> I very much like Pogorelich' and Argerich' English suites, but what
> little I've heard of Rubsam I found rather boring.
>
> Feltsman's aren't bad, but my favourite English suites (next to
> Pogorelich, and also not complete, unfortunately) are probably Stanislav
> Bunin's.
Did Bunin record more than #3 g minor?
> little I've heard of Rubsam I found rather boring.
>
> Feltsman's aren't bad, but my favourite English suites (next to
> Pogorelich, and also not complete, unfortunately) are probably Stanislav
> Bunin's.
I like Perahias better than his Partitas, but it's still somewhat on the
"soft side".
I have two complete sets (Elena Mustonen and Rousset) and a half
(Jaccottet) onf harpsichord. I wonder whether Walcha was ever available
on CD seperately (may some of these silver boxes ca. 25 years ago, but
they are long gone and I was not interested in this music as a teenager
back then).
MELMOTH
Mar 27, 2014, 5:23:48 AM3/27/14
to
Ce cher mammifère du nom de JohnGavin nous susurrait, le mardi
25/03/2014, dans nos oreilles grandes ouvertes mais un peu sales tout
de même, et dans le message
<22a060cd-cf58-496e...@googlegroups.com>, les doux
mélismes suivants :
> Listening to various versons, both complete sets and individual suites, I've
> arrived at a favorite piano version and harpsichord version. These will not
> be everyone's favorites - this I already know, but here goes:
Bach + piano = *Glenn GOULD*...
And that's that !...
--
Car avec beaucoup de science, il y a beaucoup de chagrin ; et celui qui
accroît sa science accroît sa douleur.
[Ecclésiaste, 1-18]
MELMOTH - souffrant
25/03/2014, dans nos oreilles grandes ouvertes mais un peu sales tout
de même, et dans le message
<22a060cd-cf58-496e...@googlegroups.com>, les doux
mélismes suivants :
> Listening to various versons, both complete sets and individual suites, I've
> arrived at a favorite piano version and harpsichord version. These will not
> be everyone's favorites - this I already know, but here goes:
And that's that !...
--
Car avec beaucoup de science, il y a beaucoup de chagrin ; et celui qui
accroît sa science accroît sa douleur.
[Ecclésiaste, 1-18]
MELMOTH - souffrant
howie...@btinternet.com
Mar 27, 2014, 8:32:53 AM3/27/14
to
howie...@btinternet.com
Mar 27, 2014, 8:34:17 AM3/27/14
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Terry
Mar 27, 2014, 11:55:49 AM3/27/14
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In article <141e4d41-3851-4966...@googlegroups.com>,
Thanks for your insights, eloquently stated. But we must agree to
differ, I'm afraid. How lucky we are!
differ, I'm afraid. How lucky we are!
Frank Lekens
Mar 27, 2014, 12:11:06 PM3/27/14
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Johannes Roehl schreef op 27-3-2014 10:16:
suite no 2 and the French suite no 5. Unfortunately they're a Japanese
issue that's hard to get outside Japan.
> Am 26.03.2014 23:19, schrieb Frank Lekens:
>> howie...@btinternet.com schreef op 26-3-2014 20:44:
>
>> I very much like Pogorelich' and Argerich' English suites, but what
>> little I've heard of Rubsam I found rather boring.
>>
>> Feltsman's aren't bad, but my favourite English suites (next to
>> Pogorelich, and also not complete, unfortunately) are probably Stanislav
>> Bunin's.
>
> Did Bunin record more than #3 g minor?
There's a disc with English suite no 1 and 6 and a disc with the English
>> howie...@btinternet.com schreef op 26-3-2014 20:44:
>
>> I very much like Pogorelich' and Argerich' English suites, but what
>> little I've heard of Rubsam I found rather boring.
>>
>> Feltsman's aren't bad, but my favourite English suites (next to
>> Pogorelich, and also not complete, unfortunately) are probably Stanislav
>> Bunin's.
>
> Did Bunin record more than #3 g minor?
suite no 2 and the French suite no 5. Unfortunately they're a Japanese
issue that's hard to get outside Japan.
arri bachrach
Mar 27, 2014, 2:27:19 PM3/27/14
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AB
Terry
Mar 28, 2014, 3:14:58 AM3/28/14
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Steve Emerson
Mar 30, 2014, 7:22:12 PM3/30/14
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Schiff is at his best in the suites both English and French, I think.
Wonderful playing. Agree with Frank on Bunin.
SE.
Wonderful playing. Agree with Frank on Bunin.
SE.
max197...@gmail.com
Mar 31, 2014, 11:23:25 AM3/31/14
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On Tuesday, March 25, 2014 3:51:25 PM UTC-4, howie...@btinternet.com wrote:
> I think both your choices are very good. Other favourites of mine are Leonhatdt and the recent (challenging) one from Ketil Haugsand. In addition I enjoyed hearing Hantai play them last week in Paris -- the concert has been recorded here
>
>
>
> http://www.citedelamusiquelive.tv/concert/1015032/pierre-hantai-johann-sebastian-bach.html
Wow, some great playing on this recital. I almost find the music compelling.
> I think both your choices are very good. Other favourites of mine are Leonhatdt and the recent (challenging) one from Ketil Haugsand. In addition I enjoyed hearing Hantai play them last week in Paris -- the concert has been recorded here
>
>
>
> http://www.citedelamusiquelive.tv/concert/1015032/pierre-hantai-johann-sebastian-bach.html
-Max
howie...@btinternet.com
Mar 31, 2014, 12:06:29 PM3/31/14
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Glad you liked it. Be sure to check Bob van Asperen playing Art of Fugue, which was the only other concert I went to.
One thing that I was really struck by was how young the audience were. Baroque is really happening in Paris, much more so than in London.
One thing that I was really struck by was how young the audience were. Baroque is really happening in Paris, much more so than in London.
Frank Lekens
Apr 4, 2014, 3:29:42 AM4/4/14
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Steve Emerson schreef op 31-3-2014 01:22:
And the same goes for Feltsman. I don't have his cd's, but can hear his
Bach on Spotify. If his label ever issued a fair priced box with all his
Bach recordings I think I'd buy it. (But maybe it's wiser for them to
keep them available separately.)
For one offs (slash incomplete recordings) Richter, Argerich, Pogorelich
and Bunin are all very special, IMHO -- as is Pires, who maybe hasn't
been mentioned yet.
Anderszewski also recorded two of the English suites, they are very
worthwhile too. He's coming to Amsterdam with an all Bach recital at the
end of this year, I'm looking forward to that. I quite like all of his
Bach recordings, especially the partita disc and the live partita on his
Carnegie Hall recital disc.
> Schiff is at his best in the suites both English and French, I think.
> Wonderful playing. Agree with Frank on Bunin.
>
> SE.
>
Yes, I also like Schiff in those works. In the partitas too, by the way.
> Wonderful playing. Agree with Frank on Bunin.
>
> SE.
>
And the same goes for Feltsman. I don't have his cd's, but can hear his
Bach on Spotify. If his label ever issued a fair priced box with all his
Bach recordings I think I'd buy it. (But maybe it's wiser for them to
keep them available separately.)
For one offs (slash incomplete recordings) Richter, Argerich, Pogorelich
and Bunin are all very special, IMHO -- as is Pires, who maybe hasn't
been mentioned yet.
Anderszewski also recorded two of the English suites, they are very
worthwhile too. He's coming to Amsterdam with an all Bach recital at the
end of this year, I'm looking forward to that. I quite like all of his
Bach recordings, especially the partita disc and the live partita on his
Carnegie Hall recital disc.
Oscar
Apr 4, 2014, 4:57:52 AM4/4/14
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On Friday, April 4, 2014 12:29:42 AM, Frank Lekens wrote:
>
> Anderszewski also recorded two of the English suites, they are very
> worthwhile too. He's coming to Amsterdam with an all Bach recital at the
> end of this year, I'm looking forward to that. I quite like all of his
> Bach recordings, especially the partita disc and the live partita on his
> Carnegie Hall recital disc.
I saw him give an all-Bach recital at Disney Hall in 2008. Romantic and simply wonderful; the lights were dimmed and his playing had an narcotic-like effect on me from the 12th row. Last time he was in LA was 2010 playing the Beethoven C major Concerto.
>
> Anderszewski also recorded two of the English suites, they are very
> worthwhile too. He's coming to Amsterdam with an all Bach recital at the
> end of this year, I'm looking forward to that. I quite like all of his
> Bach recordings, especially the partita disc and the live partita on his
> Carnegie Hall recital disc.
JohnGavin
Apr 4, 2014, 9:15:16 AM4/4/14
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On Friday, April 4, 2014 3:29:42 AM UTC-4, Frank Lekens wrote:
> Steve Emerson schreef op 31-3-2014 01:22:
>
> > Schiff is at his best in the suites both English and French, I think.
>
> > Wonderful playing. Agree with Frank on Bunin.
>
> >
>
> > SE.
>
> >
>
> Yes, I also like Schiff in those works. In the partitas too, by the way.
>
>
>
I find Schiff to be excellent in the French Suites - wonderfully alive playing. Not so much in the Partitas (at least in the Decca recording). Here, Schiff is too overactive in highlighting voices - often less-essential voices (i.e. bass figurations) which overshadow more important lines. The Partitas in his hands sound overly manipulated.
> Steve Emerson schreef op 31-3-2014 01:22:
>
> > Schiff is at his best in the suites both English and French, I think.
>
> > Wonderful playing. Agree with Frank on Bunin.
>
> >
>
> > SE.
>
> >
>
> Yes, I also like Schiff in those works. In the partitas too, by the way.
>
>
>
My favorites for the Partitas are Perahia and Derek Adlam (harpsichord).
tombla...@gmail.com
Apr 13, 2014, 1:01:06 AM4/13/14
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Does anyone know if Alicia de Larrocha's recording of the English suite no. 2 has been reissued on CD? I can't find it anywhere and I can't find a downloadable version either.
Tom
Tom
JohnGavin
Apr 13, 2014, 8:56:13 AM4/13/14
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On Sunday, April 13, 2014 1:01:06 AM UTC-4, tombla...@gmail.com wrote:
> Does anyone know if Alicia de Larrocha's recording of the English suite no. 2 has been reissued on CD? I can't find it anywhere and I can't find a downloadable version either.
>
>
>
> Tom
Take a look at this:
> Does anyone know if Alicia de Larrocha's recording of the English suite no. 2 has been reissued on CD? I can't find it anywhere and I can't find a downloadable version either.
>
>
>
> Tom
http://larrocha-discography.blogspot.com/2014/04/decca-eloquence-480-7671.html
Release date: April 28th
Hope that helps :)
Frank Lekens
Apr 15, 2014, 5:34:19 AM4/15/14
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JohnGavin schreef op 13-4-2014 14:56:
Cool.
I wasn't aware of this, but her 2nd suite (it's on YouTube) sounds fine
to me.
I've listened to a lot of English suites over the past week and may post
some superficial impressions later. But to give the theme another twist:
which pianist who hasn't recorded them would you like to hear in these
works (or in other Bach works)?
I'm thinking:
I'd like to have *all* the suites by Anderszewski and Bunin instead of
just a selection.
But no, that's cheating, let me stick to pianists who really haven't
recorded it.
I've heard some Bach by Tharaud, and I wouldn't mind hearing him in the
English suites.
I've never heard any Bach by Elizabeth Leonskaya, but in his book about
Youri Egorov the journalist Jan Brokken describes how a number of
musician's were holding a wake in Egorov's house after his untimely
demise, and he heard Leonskaya play Bach partitas there (without
audience, just for herself). It made me yearn for a Bach recording of
hers. (She hasn't made any, has she?)
I sometimes wonder what Zimerman's Bach would sound like. (Has he ever
performed it?)
And I wonder if Volodos will turn to Bach at some point in his career.
I suspect Dejan Lazic could make an interesting Bach recording.
I wasn't aware of this, but her 2nd suite (it's on YouTube) sounds fine
to me.
I've listened to a lot of English suites over the past week and may post
some superficial impressions later. But to give the theme another twist:
which pianist who hasn't recorded them would you like to hear in these
works (or in other Bach works)?
I'm thinking:
I'd like to have *all* the suites by Anderszewski and Bunin instead of
just a selection.
But no, that's cheating, let me stick to pianists who really haven't
recorded it.
I've heard some Bach by Tharaud, and I wouldn't mind hearing him in the
English suites.
I've never heard any Bach by Elizabeth Leonskaya, but in his book about
Youri Egorov the journalist Jan Brokken describes how a number of
musician's were holding a wake in Egorov's house after his untimely
demise, and he heard Leonskaya play Bach partitas there (without
audience, just for herself). It made me yearn for a Bach recording of
hers. (She hasn't made any, has she?)
I sometimes wonder what Zimerman's Bach would sound like. (Has he ever
performed it?)
And I wonder if Volodos will turn to Bach at some point in his career.
I suspect Dejan Lazic could make an interesting Bach recording.
Frank Lekens
Apr 15, 2014, 9:55:09 AM4/15/14
to
JohnGavin schreef op 4-4-2014 15:15:
I don't know what it is with the harpsichord: I just can't warm to it,
especially as a solo instrument. I hardly ever listen to Bach keyboard
works other than played on the piano.
Okay, here are some more English suites.
I *did* say to myself: what's the point of listing all possible
recordings of Bach's English suites on the piano? Enjoyable though they
are, they're hardly his most important works.
Still, when the question of the Bach English suites came up, I couldn't
resist having a go at playing all the recordings I have of those plus
the ones I could find on Spotify, taking a quick inventory and briefly
noting what I thought of most of them.
Actually there are far too many recordings on Spotify alone to do that
in any depth. And on http://www.bach-cantatas.com/NVD/BWV806-811.htm I
saw there were even *more*. Even when I'm restricting myself solely to
piano versions.
Still, let me list those I did hear something of, and start with my top
recommendations, most (but not all!) of which have already been
mentioned in this thread.
Then I start with Gould, mainly because often I simply forget to mention
him. Not because I don't like him but because I sort of take him for
granted. I know some people can't stand him, but I can. I think he
always stands out, has something interesting to add to other pianists'
take on the same works – and the English and French suites are some of
the most interesting Bach recordings he's made.
After that, I would first have to mention the 2nd and 3rd suite by
Pogorelich. For me, these are in a class of their own.
But so are the (often very different) recordings by Stanislav Bunin (4
of the suites, three of which are only on hard to obtain Japanese EMI
CD's), Mario Joao Pires (the 3rd suite only), Martha Argerich and
Grigory Sokolov (2nd suite).
I'm also very fond of Anderszewski's Bach, and of course Richte'sr. At
least his early recordings of the 3rd suite; the 90s Bach recordings by
Richter: not so much. They continue to exert a certain fascination, but
I'm not sure whether that's to do with the meditative stillness of the
performances, especially in the slow movements, or whether it has to do
with they Richter myth (so it's extraneous to the music). I think many
other performers also have a lot to offer in the slow movements without
always sacrificing so much vigour and variety in the faster parts.
Finally, there's a marvellous, very lively and spontaneous rendition of
the 3rd suite on an live recital from 2004 by Rudolf Buchbinder, an
Orfeo CD. I'd almost forgotten to it, but playing it just now after
having listened to a bunch of English suites over the past week, it
strikes me as incredibly fresh, I don't think I've often heard Bach on
the piano so "unbuttoned", and it goes straight to the top of my list.
Besides Gould I have two other complete sets at home: those by Schiff
and Perahia. Of those, I much prefer the first. I do agree Perahia's
English suites are hard to fault, but they leave me strangely
unsatisfied, as though he's skimming over them, scratching the surface,
just not digging deep enough. I don't know. I think I heard him play one
live once and it was enjoyable, but the recordings don't do it for me.
(Of his Bach recordings so far, what I like most are the concertos.)
Another recent complete recording I play fairly often on Spotify is
Feltsman's. I think I prefer it even to Schiff's. A little more forceful.
Staying with complete sets of the suites, let me first mention four
worthwhile versions that are quasi-unavailable.
There's Vedernikov's. Not on Spotify and not (easily) available on CD,
it seems.
Then there's the Japanese pianist Takahiro Sonoda. On
http://www.bach-cantatas.com/NVP/Sonoda.htm they don't list the full
contents of the 7 CD Bach Recordings box. And it doesn't seem available.
(http://www.amazon.de/Bach-Well-Tempered-Clavier-Takahiro-Sonoda/dp/B00077DAIA)
In fact, if you Google Bach and Sonoda, most of the hits you get are to
torrent downloads of the contents of that box. Not exactly legal, but
there you are: it seems to be all that's available (if indeed those
*are* Sonoda's recordings, of course...).
In any case they contain a fine recording of the complete English suites.
Thirdly, there's Reine Gianoli. I have atrocious sounding mp3's, I think
from the European Archive or somewhere else, of her set of English
Suites. Fine performances, I'd be grateful if someone, sometime, will
take the time to make better transfers of these available (as has
already been done for her partitas; at least there are mp3's of those on
the internet that sound a lot cleaner than the English suites).
Finally, I came across the name of Alexander Borowsky. His English
suites seem to have been reissued, but I haven't heard them.
http://www.interlude.hk/front/bach-11/
Same more recent complete sets, that are probably easier to obtain and
in any case are available to sample on Spotify: Piricone, Rahmani,
Stadtfeld, Ivo Jansen, Sverre Larsen, Claudio Colombo.
When I hear Rahmani and Stadtfeld in the 2nd and 3rd suites, I wonder if
they, too, feel that Pogorelich has set a new standard and they are
trying to emulate him, in speed and forward drive especially. They play
the preludes terribly fast. However, IMHO they don't manage to add as
much colour and variety as Pogorelich does at those speeds, *and* they
are less interesting in the slower movements, Rahmani particularly so.
They also add more ornamentation here and there, particularly Stadtfield
-- who even includes an entire improvisatory interlude before the repeat
of the prelude in the 2nd suite, and a strange addition at the end of
the gavottes in the 3rd suite. I don't always find that convincing, it's
almost as though they're trying to compensate for a certain lack of
musical depth.
Having said that, compared to these complete sets, the ones by Ivo
Jansen and Sverre Larsen are even more unremarkable. Note that I've only
dipped into these sets very superficially; but my impression was they're
a little lacklustre (although they have their moments, probably in the
slower movements sooner than the faster ones).
Claudio Colombo's set I didn't like. (I see on his website that he
records all his stuff on Yamaha digital pianos
http://www.mp3classicalmusic.net/Works/bachjs-englishsuites.htm.)
Antonio Piricone's set is rather strikingly different: with lots of
ornamentations and pauses (ritardandos? What one reviewer once called
"playing with the handbrake on" when describing Pletnev's Mozart sonatas).
There are two complete sets I haven't heard at all: Angela Hewitt's (but
I don't really take to her other Bach, so I doubt I'll take to her
English suites) and Andrea Bacchetti's: another youngish pianist who's
issued a lot of Bach on a major label. Some of his other Bach recordings
are on Spotify, for those who want to get an impression of his style of
Bach playing. (Quite a while since I've heard it, but If I'm not
mistaken it's of the skittish light-footed mediterranean rather than the
heavy handed Russian variety -- if that stereotype makes any sense.)
As for Wolfgang Rubsam, what I've heard of him I simply found soporific,
like wading through molasses. It's not slowness per se I'm against. I'd
even be interested to hear the champion of slowness, Valery Afanassiev,
give his take on one of these suites. But Rubsam's lethargic renditions
lack the madness that makes Afanassiev's predilection for slow tempi
interesting at least. At least as far as I could gather, because I've
never been able to sit out a single English suite by Rubsam.
There's also Robert Levin's English suites for the Hanssler complete
Bach: on the piano, which may be surprising (as he's from the
historically informed crowd). They're not bad performances, yet I find
them a little disappointing. But maybe it's only because I'd expected
something really special.
And sometimes when pianists set out to play them "special", the
recording actually turns out not so special after all. That's what I
feel with Joao Carlos Martins. The very first time I heard them I
thought: hah, something else. But every time I play the cd after that (I
have the first 3 English suites by him) the mannerisms only annoy me and
I find no compensating qualities.
Turning from complete sets to pianists who recorded just one or a
handful of English suites:
There's a notable all Bach 1956 recital by Backhaus that's very
worthwhile (containing the 6th English suite).
Another older 6th suite is the one on this set by Gieseking, from the 40s:
http://www.musicandarts.com/CDpages/CD1070hi.html
Unfortunately, it's no longer available. The same goes for this M&A set,
which I've never heard:
http://www.musicandarts.com/CDpages/CD947h.html
A later recording of 4 English suites by Gieseking is still available,
at least on Spotify, in two guises (M&A and Urania), and that's
worthwhile too – although that single 6th suite from the 40s is better
than the one included here:
http://www.amazon.com/Previously-Unissued-Public-Performances-Broadcasts/dp/B000050HYS
http://www.amazon.com/Bach-English-Suites-Johann-Sebastian/dp/B00005YQLQ
Marcelle Meyer: nice 4th suite, very rapid, light touch and nimble.
Mieczyslaw Horszowski: a rather tame 5th suite on a BBC recital cd.
Gulda in the 2nd & 3rd suite: has the robustness and drive I associate
with his Mozart and Beethoven (and some of his Bach, e.g. his WTC,
although there he sometimes becomes too strident). But it's also rather
monochrome and a little uninvolved, it sometimes tends to sound robotic.
Most of the other "one-offs" I heard were by younger pianists. Maybe I'm
not critical enough, but on cursory first hearing I found quite a lot to
enjoy.
E.g. there are okay 6th suites by a certain Nikolai Petrov (as usual,
Spotify provides scant information. Is this
http://en.wikipedia.org/wiki/Nikolai_Arnoldovich_Petrov ?) and Ilse
Graubina, and two spirited performances of the same suite by young
pianists, Rexa Han (feisty rather than subtle) and Dudana Mazmanishvili.
Compared to those I found the one by Evan Kory a trifle bland.
The 3rd suite also fares well in the hands of youngsters: there's an
okay live performance by Daniel Lessner, and fine performances by Egle
Januleviciute and Jura Margulis: the last one has a robust prelude, the
ornaments in the sarabande may be a little overdone (unless you like
happen to like them), and the middle part of the gavotte is maybe a
little heavy-handed (strident). Bronika Kushkuley also starts at a
madcap tempo wich she nicely keeps up. She has a strikingly individual
slow rendition of the musette in the middle of the gavotte. Interesting.
Dinnerstein's Bach album 'A Strange Beauty' contains a strange mix of
keyboard concerto's and solo works, but her rendition of the 3rd English
suite is quite appealing.
Anne-Marie McDermott has the 2nd and 3rd suite on Spotify: excellent
performances too. (Actually these aren't one-offs. She recorded all the
English suites but only these two are on Spotify.)
Jill Crossland plays the 2nd suite: another fine performance, nice
sarabande.
Michael Studer, another pianist I'd never heard of, has a spot of Bach
on Spotify, among wich the 2nd English suite. Fine, I think. My thoughts
are getting muddled though. English suite fatigue is starting to set in.
There's also Bach by a certain James Wright Webber that sounds rather
horrible.
Finally some older recordings (not all of them on Spotify): the 2nd
suite by Myra Hess and by Rimma Bobritskaya. (She recorded an LP that's
never been reissued but that's available as mp3s in the blogosphere
somewhere.) Fine. At least I like all this more than those in the
complete sets by Stadtfeld, Rahmani, Jansen &c mentioned above.
Then there's the 3rd suite by Kempff and the first three (on Spotify at
least – he may have recorded all of them) by Amadeus Webersinke. But by
now English suite fatigue has definitely done me in and I don't hear
anything that positively distinguishes these last two. Anyway some of
the abovementioned youngsters (Kushkuley, Crossland) seem preferrable to
these.
All this isn't very illuminating on the relative merits and specific
differences between all these recordings, I'm afraid. But at least
Spotify offers an easy way to sample for yourself if there's anything
here that you might want to give further listen to yourselves.
And note that the list of recordings I didn't even get to hear is almost
longer. In addition to the abovementioned Hewitt and Bacchetti there's
De Larrocha (although I did finally find her on YouTube) and -- in more
or less reverse chronological order – these pianists listed on
http://www.bach-cantatas.com/:
Pål Eide
Simone Leitão
Sabrina Lanzi
Veronica Jochum
Valeri Grohovski
David Theodor Schmidt
Jean-Frédéric Neuburger (curious about this!)
Ewa Pobłocka
Pamela Ross
Susan Starr
Chantal Stigliani
Anna Adamik
Jane Coop
Rosalyn Tureck (not really curious about this)
Mari-Elizabeth Morgen
Nikolayeva
Gunnar Johansen
Sidney Foster
Gerard Hengeveld
Margarita Fyodorova (some of this is on YouTube, where her name is
spelt Fedorova)
Oh, and Alexander Borowsky.
If there's anything there that I absolutely *should* hear, let me know.
But not for a while...
especially as a solo instrument. I hardly ever listen to Bach keyboard
works other than played on the piano.
Okay, here are some more English suites.
I *did* say to myself: what's the point of listing all possible
recordings of Bach's English suites on the piano? Enjoyable though they
are, they're hardly his most important works.
Still, when the question of the Bach English suites came up, I couldn't
resist having a go at playing all the recordings I have of those plus
the ones I could find on Spotify, taking a quick inventory and briefly
noting what I thought of most of them.
Actually there are far too many recordings on Spotify alone to do that
in any depth. And on http://www.bach-cantatas.com/NVD/BWV806-811.htm I
saw there were even *more*. Even when I'm restricting myself solely to
piano versions.
Still, let me list those I did hear something of, and start with my top
recommendations, most (but not all!) of which have already been
mentioned in this thread.
Then I start with Gould, mainly because often I simply forget to mention
him. Not because I don't like him but because I sort of take him for
granted. I know some people can't stand him, but I can. I think he
always stands out, has something interesting to add to other pianists'
take on the same works – and the English and French suites are some of
the most interesting Bach recordings he's made.
After that, I would first have to mention the 2nd and 3rd suite by
Pogorelich. For me, these are in a class of their own.
But so are the (often very different) recordings by Stanislav Bunin (4
of the suites, three of which are only on hard to obtain Japanese EMI
CD's), Mario Joao Pires (the 3rd suite only), Martha Argerich and
Grigory Sokolov (2nd suite).
I'm also very fond of Anderszewski's Bach, and of course Richte'sr. At
least his early recordings of the 3rd suite; the 90s Bach recordings by
Richter: not so much. They continue to exert a certain fascination, but
I'm not sure whether that's to do with the meditative stillness of the
performances, especially in the slow movements, or whether it has to do
with they Richter myth (so it's extraneous to the music). I think many
other performers also have a lot to offer in the slow movements without
always sacrificing so much vigour and variety in the faster parts.
Finally, there's a marvellous, very lively and spontaneous rendition of
the 3rd suite on an live recital from 2004 by Rudolf Buchbinder, an
Orfeo CD. I'd almost forgotten to it, but playing it just now after
having listened to a bunch of English suites over the past week, it
strikes me as incredibly fresh, I don't think I've often heard Bach on
the piano so "unbuttoned", and it goes straight to the top of my list.
Besides Gould I have two other complete sets at home: those by Schiff
and Perahia. Of those, I much prefer the first. I do agree Perahia's
English suites are hard to fault, but they leave me strangely
unsatisfied, as though he's skimming over them, scratching the surface,
just not digging deep enough. I don't know. I think I heard him play one
live once and it was enjoyable, but the recordings don't do it for me.
(Of his Bach recordings so far, what I like most are the concertos.)
Another recent complete recording I play fairly often on Spotify is
Feltsman's. I think I prefer it even to Schiff's. A little more forceful.
Staying with complete sets of the suites, let me first mention four
worthwhile versions that are quasi-unavailable.
There's Vedernikov's. Not on Spotify and not (easily) available on CD,
it seems.
Then there's the Japanese pianist Takahiro Sonoda. On
http://www.bach-cantatas.com/NVP/Sonoda.htm they don't list the full
contents of the 7 CD Bach Recordings box. And it doesn't seem available.
(http://www.amazon.de/Bach-Well-Tempered-Clavier-Takahiro-Sonoda/dp/B00077DAIA)
In fact, if you Google Bach and Sonoda, most of the hits you get are to
torrent downloads of the contents of that box. Not exactly legal, but
there you are: it seems to be all that's available (if indeed those
*are* Sonoda's recordings, of course...).
In any case they contain a fine recording of the complete English suites.
Thirdly, there's Reine Gianoli. I have atrocious sounding mp3's, I think
from the European Archive or somewhere else, of her set of English
Suites. Fine performances, I'd be grateful if someone, sometime, will
take the time to make better transfers of these available (as has
already been done for her partitas; at least there are mp3's of those on
the internet that sound a lot cleaner than the English suites).
Finally, I came across the name of Alexander Borowsky. His English
suites seem to have been reissued, but I haven't heard them.
http://www.interlude.hk/front/bach-11/
Same more recent complete sets, that are probably easier to obtain and
in any case are available to sample on Spotify: Piricone, Rahmani,
Stadtfeld, Ivo Jansen, Sverre Larsen, Claudio Colombo.
When I hear Rahmani and Stadtfeld in the 2nd and 3rd suites, I wonder if
they, too, feel that Pogorelich has set a new standard and they are
trying to emulate him, in speed and forward drive especially. They play
the preludes terribly fast. However, IMHO they don't manage to add as
much colour and variety as Pogorelich does at those speeds, *and* they
are less interesting in the slower movements, Rahmani particularly so.
They also add more ornamentation here and there, particularly Stadtfield
-- who even includes an entire improvisatory interlude before the repeat
of the prelude in the 2nd suite, and a strange addition at the end of
the gavottes in the 3rd suite. I don't always find that convincing, it's
almost as though they're trying to compensate for a certain lack of
musical depth.
Having said that, compared to these complete sets, the ones by Ivo
Jansen and Sverre Larsen are even more unremarkable. Note that I've only
dipped into these sets very superficially; but my impression was they're
a little lacklustre (although they have their moments, probably in the
slower movements sooner than the faster ones).
Claudio Colombo's set I didn't like. (I see on his website that he
records all his stuff on Yamaha digital pianos
http://www.mp3classicalmusic.net/Works/bachjs-englishsuites.htm.)
Antonio Piricone's set is rather strikingly different: with lots of
ornamentations and pauses (ritardandos? What one reviewer once called
"playing with the handbrake on" when describing Pletnev's Mozart sonatas).
There are two complete sets I haven't heard at all: Angela Hewitt's (but
I don't really take to her other Bach, so I doubt I'll take to her
English suites) and Andrea Bacchetti's: another youngish pianist who's
issued a lot of Bach on a major label. Some of his other Bach recordings
are on Spotify, for those who want to get an impression of his style of
Bach playing. (Quite a while since I've heard it, but If I'm not
mistaken it's of the skittish light-footed mediterranean rather than the
heavy handed Russian variety -- if that stereotype makes any sense.)
As for Wolfgang Rubsam, what I've heard of him I simply found soporific,
like wading through molasses. It's not slowness per se I'm against. I'd
even be interested to hear the champion of slowness, Valery Afanassiev,
give his take on one of these suites. But Rubsam's lethargic renditions
lack the madness that makes Afanassiev's predilection for slow tempi
interesting at least. At least as far as I could gather, because I've
never been able to sit out a single English suite by Rubsam.
There's also Robert Levin's English suites for the Hanssler complete
Bach: on the piano, which may be surprising (as he's from the
historically informed crowd). They're not bad performances, yet I find
them a little disappointing. But maybe it's only because I'd expected
something really special.
And sometimes when pianists set out to play them "special", the
recording actually turns out not so special after all. That's what I
feel with Joao Carlos Martins. The very first time I heard them I
thought: hah, something else. But every time I play the cd after that (I
have the first 3 English suites by him) the mannerisms only annoy me and
I find no compensating qualities.
Turning from complete sets to pianists who recorded just one or a
handful of English suites:
There's a notable all Bach 1956 recital by Backhaus that's very
worthwhile (containing the 6th English suite).
Another older 6th suite is the one on this set by Gieseking, from the 40s:
http://www.musicandarts.com/CDpages/CD1070hi.html
Unfortunately, it's no longer available. The same goes for this M&A set,
which I've never heard:
http://www.musicandarts.com/CDpages/CD947h.html
A later recording of 4 English suites by Gieseking is still available,
at least on Spotify, in two guises (M&A and Urania), and that's
worthwhile too – although that single 6th suite from the 40s is better
than the one included here:
http://www.amazon.com/Previously-Unissued-Public-Performances-Broadcasts/dp/B000050HYS
http://www.amazon.com/Bach-English-Suites-Johann-Sebastian/dp/B00005YQLQ
Marcelle Meyer: nice 4th suite, very rapid, light touch and nimble.
Mieczyslaw Horszowski: a rather tame 5th suite on a BBC recital cd.
Gulda in the 2nd & 3rd suite: has the robustness and drive I associate
with his Mozart and Beethoven (and some of his Bach, e.g. his WTC,
although there he sometimes becomes too strident). But it's also rather
monochrome and a little uninvolved, it sometimes tends to sound robotic.
Most of the other "one-offs" I heard were by younger pianists. Maybe I'm
not critical enough, but on cursory first hearing I found quite a lot to
enjoy.
E.g. there are okay 6th suites by a certain Nikolai Petrov (as usual,
Spotify provides scant information. Is this
http://en.wikipedia.org/wiki/Nikolai_Arnoldovich_Petrov ?) and Ilse
Graubina, and two spirited performances of the same suite by young
pianists, Rexa Han (feisty rather than subtle) and Dudana Mazmanishvili.
Compared to those I found the one by Evan Kory a trifle bland.
The 3rd suite also fares well in the hands of youngsters: there's an
okay live performance by Daniel Lessner, and fine performances by Egle
Januleviciute and Jura Margulis: the last one has a robust prelude, the
ornaments in the sarabande may be a little overdone (unless you like
happen to like them), and the middle part of the gavotte is maybe a
little heavy-handed (strident). Bronika Kushkuley also starts at a
madcap tempo wich she nicely keeps up. She has a strikingly individual
slow rendition of the musette in the middle of the gavotte. Interesting.
Dinnerstein's Bach album 'A Strange Beauty' contains a strange mix of
keyboard concerto's and solo works, but her rendition of the 3rd English
suite is quite appealing.
Anne-Marie McDermott has the 2nd and 3rd suite on Spotify: excellent
performances too. (Actually these aren't one-offs. She recorded all the
English suites but only these two are on Spotify.)
Jill Crossland plays the 2nd suite: another fine performance, nice
sarabande.
Michael Studer, another pianist I'd never heard of, has a spot of Bach
on Spotify, among wich the 2nd English suite. Fine, I think. My thoughts
are getting muddled though. English suite fatigue is starting to set in.
There's also Bach by a certain James Wright Webber that sounds rather
horrible.
Finally some older recordings (not all of them on Spotify): the 2nd
suite by Myra Hess and by Rimma Bobritskaya. (She recorded an LP that's
never been reissued but that's available as mp3s in the blogosphere
somewhere.) Fine. At least I like all this more than those in the
complete sets by Stadtfeld, Rahmani, Jansen &c mentioned above.
Then there's the 3rd suite by Kempff and the first three (on Spotify at
least – he may have recorded all of them) by Amadeus Webersinke. But by
now English suite fatigue has definitely done me in and I don't hear
anything that positively distinguishes these last two. Anyway some of
the abovementioned youngsters (Kushkuley, Crossland) seem preferrable to
these.
All this isn't very illuminating on the relative merits and specific
differences between all these recordings, I'm afraid. But at least
Spotify offers an easy way to sample for yourself if there's anything
here that you might want to give further listen to yourselves.
And note that the list of recordings I didn't even get to hear is almost
longer. In addition to the abovementioned Hewitt and Bacchetti there's
De Larrocha (although I did finally find her on YouTube) and -- in more
or less reverse chronological order – these pianists listed on
http://www.bach-cantatas.com/:
Pål Eide
Simone Leitão
Sabrina Lanzi
Veronica Jochum
Valeri Grohovski
David Theodor Schmidt
Jean-Frédéric Neuburger (curious about this!)
Ewa Pobłocka
Pamela Ross
Susan Starr
Chantal Stigliani
Anna Adamik
Jane Coop
Rosalyn Tureck (not really curious about this)
Mari-Elizabeth Morgen
Nikolayeva
Gunnar Johansen
Sidney Foster
Gerard Hengeveld
Margarita Fyodorova (some of this is on YouTube, where her name is
spelt Fedorova)
Oh, and Alexander Borowsky.
If there's anything there that I absolutely *should* hear, let me know.
But not for a while...
Bozo
Apr 15, 2014, 10:27:16 AM4/15/14
to
>On Tuesday, April 15, 2014 8:55:09 AM UTC-5, Frank Lekens wrote:
Check out separate Hantai thread here just posted.
I also dont warm to harpsichords , but taken a bit at a time, better .
Check out separate Hantai thread here just posted.
I also dont warm to harpsichords , but taken a bit at a time, better .
Frank Lekens
Apr 15, 2014, 2:07:37 PM4/15/14
to
Bozo schreef op 15-4-2014 16:27:
versions are the only ones that really keep me riveted or that I can
play for any length.
On that page, my eye & ear immediately roves to this:
http://www.citedelamusiquelive.tv/concert/1010103/johann-sebastian-bach-les-concertos-pour-clavier-orchestre-de.html
http://www.citedelamusiquelive.tv/concert/1010107/johann-sebastian-bach-orchestre-de-chambre-de-lausanne-nicholas.html
Starts nicely.
>> On Tuesday, April 15, 2014 8:55:09 AM UTC-5, Frank Lekens wrote:
>
> Check out separate Hantai thread here just posted.
>
> I also dont warm to harpsichords , but taken a bit at a time, better .
>
I saw that. It's not that I can't stand it, but really good piano
>
> Check out separate Hantai thread here just posted.
>
> I also dont warm to harpsichords , but taken a bit at a time, better .
>
versions are the only ones that really keep me riveted or that I can
play for any length.
On that page, my eye & ear immediately roves to this:
http://www.citedelamusiquelive.tv/concert/1010103/johann-sebastian-bach-les-concertos-pour-clavier-orchestre-de.html
http://www.citedelamusiquelive.tv/concert/1010107/johann-sebastian-bach-orchestre-de-chambre-de-lausanne-nicholas.html
Starts nicely.
Frank Lekens
Apr 21, 2014, 9:30:54 AM4/21/14
to
Frank Lekens schreef op 15-4-2014 11:34:
http://www.youtube.com/watch?v=K4dhE51_ujc&list=LLBFmx_aGjqEs3G0U8mngLtA&feature=share
> I sometimes wonder what Zimerman's Bach would sound like. (Has he ever
> performed it?)
So, apparently: yes, he has.
> performed it?)
http://www.youtube.com/watch?v=K4dhE51_ujc&list=LLBFmx_aGjqEs3G0U8mngLtA&feature=share
howie...@btinternet.com
Apr 21, 2014, 12:12:38 PM4/21/14
to
Having said that, one result of this thread, listening to performances of the English Suites on modern pianos, is that I've completely lost interested in piano performances, except for Rubsam. Really the harpsichordists are streets ahead of what the pianists are doing with those suites in terms of ornamentation, counterpoint, rhetoric and articulation, phrasing even colour and dynamics.
arri bachrach
Apr 21, 2014, 12:18:37 PM4/21/14
to
AB
arri bachrach
Apr 21, 2014, 2:50:30 PM4/21/14
to
AB
Frank Lekens
Apr 21, 2014, 3:06:09 PM4/21/14
to
arri bachrach schreef op 21-4-2014 20:50:
> On Monday, April 21, 2014 12:18:37 PM UTC-4, arri bachrach wrote:
>> On Monday, April 21, 2014 9:30:54 AM UTC-4, Frank Lekens wrote:
>>
>>> Frank Lekens schreef op 15-4-2014 11:34:
>>>> I sometimes wonder what Zimerman's Bach would sound like. (Has he ever
> >>> performed it?)
>>
>>> So, apparently: yes, he has.
>>> http://www.youtube.com/watch?v=K4dhE51_ujc&list=LLBFmx_aGjqEs3G0U8mngLtA&feature=share
>
>> On Monday, April 21, 2014 9:30:54 AM UTC-4, Frank Lekens wrote:
>>
>>> Frank Lekens schreef op 15-4-2014 11:34:
>>>> I sometimes wonder what Zimerman's Bach would sound like. (Has he ever
> >>> performed it?)
>>
>>> So, apparently: yes, he has.
>>> http://www.youtube.com/watch?v=K4dhE51_ujc&list=LLBFmx_aGjqEs3G0U8mngLtA&feature=share
>
>> is this the 'famous' Zimmerman......... really very nice playing. The Chopin is also great.
>>
>>
>>
>> AB
>
> by that I mean Christian Z.
>
> AB
>
Yes, Krystian Zimerman. One M.
>>
>>
>>
>> AB
>
> by that I mean Christian Z.
>
> AB
>
Frank Lekens
Apr 21, 2014, 3:45:30 PM4/21/14
to
howie...@btinternet.com schreef op 21-4-2014 18:12:
http://youtu.be/BryrSwTpJx0
(For some reason your newsreader software doesn't wrap your messages,
making them rather hard to quote.)
> Having said that, one result of this thread, listening to performances of the English Suites on modern pianos, is that I've completely lost interested in piano performances, except for Rubsam. Really the harpsichordists are streets ahead of what the pianists are doing with those suites in terms of ornamentation, counterpoint, rhetoric and articulation, phrasing even colour and dynamics.
Maybe you'd like to try an accordeon version.
http://youtu.be/BryrSwTpJx0
(For some reason your newsreader software doesn't wrap your messages,
making them rather hard to quote.)
JohnGavin
Apr 21, 2014, 7:31:25 PM4/21/14
to
5.0 out of 5 stars Real Harpsichord Playing! May 20, 2012
By Celia J. Berveiler
Verified Purchase
I was a music student when I first heard some of Fernando Valenti's recordings, namely, all Bach's French Suites for Westminster. With each succeeding dance movement I thought I had heard the most beautiful performance of the most beautiful music ever composed by anyone.
How refreshing to hear real harpsichord playing again! The "historically informed performance" movement has gotten entirely out of hand. Pianists are afraid to use the resources of the piano. In a futile attempt to make a modern instrument sound like a harpsichord, they detach most notes longer than an eighth or sixteenth, avoid crescendi and diminuendi, and even refrain from using the damper pedal for color. To make matters worse, harpsichordists these days play their instrument as if it were a piano trying to sound like a harpsichord. They, too, detach most notes longer than an eighth or sixteenth even though the harpsichord's sustaining ability almost equals a piano's.
I am pleased to report that Fernando Valenti avoids such pitfalls. His use of the 16' stop is sometimes too much for my taste, but he more than makes up for that by fearless use of legato. Of all my recordings of Bach's English Suites,. Goosebumps take priority over history in my book.
I long for the day when Valenti's recordings of the French Suites will also be reissued on CD. What will it take to induce the powers that be to oblige me?
---------------------------------------------------------------------------------------
It seems that modern, or revival harpsichords are beginning to make a comeback. The best of these, Eric Herz', Ammers, Neuperts, are more beautiful to my ears, and more satisfying.
And if anyone thinks these instruments are miles away from those that existed in Bach's time, listen to Rafael Puyana's newly released Partitas - on a 3 manual Haas instument from Bach's time. One might mistake it for a modern instument, with its 16 foot, nasal and lute stops.
Terry
Apr 22, 2014, 1:59:16 AM4/22/14
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In article <55af615c-1cf2-49c1...@googlegroups.com>,
>
> -------------------------------------------------------------------------------
JohnGavin <dag...@gmail.com> wrote:
> On Monday, April 21, 2014 12:12:38 PM UTC-4, howie...@btinternet.com wrote:
<snip>
> On Monday, April 21, 2014 12:12:38 PM UTC-4, howie...@btinternet.com wrote:
>
> -------------------------------------------------------------------------------
> --------
> It seems that modern, or revival harpsichords are beginning to make a
> comeback. The best of these, Eric Herz', Ammers, Neuperts, are more
> beautiful to my ears, and more satisfying.
>
> And if anyone thinks these instruments are miles away from those that existed
> in Bach's time, listen to Rafael Puyana's newly released Partitas - on a 3 manual Haas instument from Bach's time. One might mistake it for a modern instument, with its 16 foot, nasal and lute stops.
>
Hey, when did you write this? 1975?
> It seems that modern, or revival harpsichords are beginning to make a
> comeback. The best of these, Eric Herz', Ammers, Neuperts, are more
> beautiful to my ears, and more satisfying.
>
> And if anyone thinks these instruments are miles away from those that existed
> in Bach's time, listen to Rafael Puyana's newly released Partitas - on a 3 manual Haas instument from Bach's time. One might mistake it for a modern instument, with its 16 foot, nasal and lute stops.
>
gggg...@gmail.com
Jan 10, 2016, 4:09:48 AM1/10/16
to
On Tuesday, March 25, 2014 at 8:17:08 AM UTC-10, JohnGavin wrote:
> Listening to various versons, both complete sets and individual suites, I've arrived at a favorite piano version and harpsichord version. These will not be everyone's favorites - this I already know, but here goes:
>
> Listening to various versons, both complete sets and individual suites, I've arrived at a favorite piano version and harpsichord version. These will not be everyone's favorites - this I already know, but here goes:
>
> 6 English Suites (Piano) - Murray Perahia
>
> I have greatly warmed up to Murray P's Bach, partcularly after hearing Schiff, Koroliov, Feltsman and others. I've chosen Perahia because there is an inherent modesty in his approach that wears well to my sensibilities. Yes, it is middle of the road, interpretively speaking, but beautifully executed and realized. There is always an musical common sense present which never fails him. I prefer this to more assertive approaches. Perahia always keeps a beautiful balance of voicing, allowing the listener to hear everything, without the constant manipulations of other pianists (I.e. Schiff). I particularly like the way Sony has captured the piano sound in these recordings.
>
> 6 English Suites (Harpsichord) - Helmut Walcha
>
> Walcha is an absolute marvel in the English Suites - the best of his harpsichord recordings by far. There is an unyielding intensity here that is uncharacteristically white hot (for Walcha). For me, one of the great harpsichord recordings of all time. The Ammer harpsichord, a modern instrument, will be disdained by purists, but for me it sounds spectacular - organ like, and Walcha uses the stops tastefully and frequently, always providing color changes that suit the music perfectly. EMI captured the sound of the instrument perfectly.
>
> Two recordings of individual suites that are favorites of mine are:
>
> #2 - Alicia de Larrocha
> #3 - Robert Edward Smith (harpsichord)
According to the following recent article:
>
> I have greatly warmed up to Murray P's Bach, partcularly after hearing Schiff, Koroliov, Feltsman and others. I've chosen Perahia because there is an inherent modesty in his approach that wears well to my sensibilities. Yes, it is middle of the road, interpretively speaking, but beautifully executed and realized. There is always an musical common sense present which never fails him. I prefer this to more assertive approaches. Perahia always keeps a beautiful balance of voicing, allowing the listener to hear everything, without the constant manipulations of other pianists (I.e. Schiff). I particularly like the way Sony has captured the piano sound in these recordings.
>
> 6 English Suites (Harpsichord) - Helmut Walcha
>
> Walcha is an absolute marvel in the English Suites - the best of his harpsichord recordings by far. There is an unyielding intensity here that is uncharacteristically white hot (for Walcha). For me, one of the great harpsichord recordings of all time. The Ammer harpsichord, a modern instrument, will be disdained by purists, but for me it sounds spectacular - organ like, and Walcha uses the stops tastefully and frequently, always providing color changes that suit the music perfectly. EMI captured the sound of the instrument perfectly.
>
> Two recordings of individual suites that are favorites of mine are:
>
> #2 - Alicia de Larrocha
> #3 - Robert Edward Smith (harpsichord)
...Piotr Anderzewski's stunning recording of three Bach English Suites...
http://www.gramophone.co.uk/classical-music-news/the-best-classical-recordings-of-2015-free-digital-magazine-out-now
ljk...@aol.com
Jan 10, 2016, 7:24:42 PM1/10/16
to
Edward Parmentier
Larry Kart
Larry Kart
ljk...@aol.com
Jan 10, 2016, 7:27:12 PM1/10/16
to
On Sunday, January 10, 2016 at 6:24:42 PM UTC-6, ljk...@aol.com wrote:
> Edward Parmentier
>
> Larry Kart
Parmentier in action:
https://www.youtube.com/watch?v=Oc1Z6p1cUEw
> Edward Parmentier
>
> Larry Kart
Parmentier in action:
https://www.youtube.com/watch?v=Oc1Z6p1cUEw
Bozo
Jan 20, 2016, 9:48:24 PM1/20/16
to
Schiff , live, from memory (!), my Decca's from about 1982 I believe :
https://www.youtube.com/watch?v=qTJATPRp8a0
https://www.youtube.com/watch?v=qTJATPRp8a0
Raymond Hall
Jan 20, 2016, 11:58:50 PM1/20/16
to
On Thursday, 21 January 2016 13:48:24 UTC+11, Bozo wrote:
> Schiff , live, from memory (!), my Decca's from about 1982 I believe :
>
> https://www.youtube.com/watch?v=qTJATPRp8a0
Schiff should be doing the English suites for ECM, as I assume he is going to record all the Bach for this label, having completed the traversal for Decca many moons ago.
> Schiff , live, from memory (!), my Decca's from about 1982 I believe :
>
> https://www.youtube.com/watch?v=qTJATPRp8a0
Gould is still up there. His English and French suites available on a Sony 4cd set very inexpensively.
Ray Hall, Taree
Randy Lane
Jan 21, 2016, 12:22:02 AM1/21/16
to
Been considering Eggar on Harmonia Mundi (fr).
Anyone heard Gieseking?
Anyone heard Gieseking?
Message has been deleted
howie...@btinternet.com
Jan 21, 2016, 1:43:52 AM1/21/16
to
Gieseking is very pianistic. When the music is slow he is too romantic, with lots of piano effects, contrasts of colour and loudness etc. When the music is fast he is motoric.
Egarr is never hard and never motoric. As is often the case with him, to me he seems to make the music look back, to Louis Couperin and to Buxtehude and Frescobaldi. He has an idea about the meaning of the suites, he thinks they're a sort of representation in music of a journey to the deepest despair, it's mainly based on the affekts of the gigues. You'll see it in the booklet.
Egarr is never hard and never motoric. As is often the case with him, to me he seems to make the music look back, to Louis Couperin and to Buxtehude and Frescobaldi. He has an idea about the meaning of the suites, he thinks they're a sort of representation in music of a journey to the deepest despair, it's mainly based on the affekts of the gigues. You'll see it in the booklet.
Bozo
Jan 22, 2016, 7:13:02 AM1/22/16
to
>On Wednesday, January 20, 2016 at 10:58:50 PM UTC-6, Raymond Hall wrote:
>Schiff should be doing the English suites for ECM, as I assume he is going to record all the Bach for this >label, having completed the traversal for Decca many moons ago.
Thanks for the info. I have that early Schiff Decca set. The schiff YT I linked is amazing live , I believe from the Liszt Academy in Budapest, circa 1980's or 1990's (?) .
>Schiff should be doing the English suites for ECM, as I assume he is going to record all the Bach for this >label, having completed the traversal for Decca many moons ago.
cooper...@gmail.com
Jan 22, 2016, 9:35:17 AM1/22/16
to
AC
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