soulpope Posted February 24, 2020 Report Share Posted February 24, 2020 Quote Link to comment Share on other sites More sharing options...
soulpope Posted February 24, 2020 Report Share Posted February 24, 2020 Next stop .... : Quote Link to comment Share on other sites More sharing options...
soulpope Posted February 24, 2020 Report Share Posted February 24, 2020 In the loop .... : Quote Link to comment Share on other sites More sharing options...
Peter Friedman Posted February 24, 2020 Report Share Posted February 24, 2020 Kempff - Mozart Piano Concerto No.9, K.271 "Jeunehomme" (recorded in 1953) Lange-Muller - Violin Concerto Op.69 and Langgaard - Violin Concerto Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 24, 2020 Report Share Posted February 24, 2020 (edited) I accomplished to complete this serie finally. 23 Februari was Häendel's birthday so playing his music these days has something extra. Edited February 24, 2020 by Referentzhunter Quote Link to comment Share on other sites More sharing options...
HutchFan Posted February 24, 2020 Report Share Posted February 24, 2020 6 hours ago, soulpope said: Very interesting view on the late Beethoven Sonatas .... Yes, I agree. Pollini's interpretation is analytical, cool, Apollonian. He's certainly a child of A.B. Michelangeli, figuratively-speaking.  It also seems like Pollini's technique is so formidable that he can negotiate this music without straining. I think that (almost) effortlessness is part of the equation too. Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 24, 2020 Report Share Posted February 24, 2020 Schumann, Kinderszenen Quote Link to comment Share on other sites More sharing options...
Peter Friedman Posted February 24, 2020 Report Share Posted February 24, 2020 Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 24, 2020 Report Share Posted February 24, 2020 (edited) 1812 Ouverture & Polonaise & Walzer aus 'Eugin Onegin' Â Edited February 24, 2020 by Referentzhunter Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 24, 2020 Report Share Posted February 24, 2020 Quote Link to comment Share on other sites More sharing options...
Alexander Hawkins Posted February 24, 2020 Report Share Posted February 24, 2020 3 hours ago, HutchFan said: Yes, I agree. Pollini's interpretation is analytical, cool, Apollonian. He's certainly a child of A.B. Michelangeli, figuratively-speaking.  It also seems like Pollini's technique is so formidable that he can negotiate this music without straining. I think that (almost) effortlessness is part of the equation too. Pollini blows my mind in Beethoven...I think his structural grasp is a huge benefit in these later sonatas in particular, where the musical forms are so radical. Take e.g. the slow movement of the Hammerklavier - he has no trouble making those 17+ minutes hold together. Also - the 'cool' thing - I do understand this, but I don't necessarily always sign up to the characterisation. The way he treats the repeated G major chord in op.110 before the inversion of the fugue just at the end of the piece is mesmerising and almost shocking to me in his hands; or for another example, the intensity of the last movement of his op.57. Anyway - for sure just a personal thing! I can't wait to hear his just-released new recordings of 109, 110, and 111. Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 24, 2020 Report Share Posted February 24, 2020 Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 24, 2020 Report Share Posted February 24, 2020 Piano Concertos Nos. 13 & 14 Quote Link to comment Share on other sites More sharing options...
HutchFan Posted February 24, 2020 Report Share Posted February 24, 2020 1 hour ago, Alexander Hawkins said: Also - the 'cool' thing - I do understand this, but I don't necessarily always sign up to the characterisation. The way he treats the repeated G major chord in op.110 before the inversion of the fugue just at the end of the piece is mesmerising and almost shocking to me in his hands; or for another example, the intensity of the last movement of his op.57. Anyway - for sure just a personal thing! I've only heard the late sonatas, so I can't speak to the rest of his cycle. But I find the Pollini readings that I do know to be very powerful. I can hear "cool", but I definitely don't hear "cold". Also, I didn't know that Pollini had re-recorded the last three. Would love to hear your impressions. Quote Link to comment Share on other sites More sharing options...
Alexander Hawkins Posted February 24, 2020 Report Share Posted February 24, 2020 11 minutes ago, HutchFan said: I've only heard the late sonatas, so I can't speak to the rest of his cycle. But I find the Pollini readings that I do know to be very powerful. I can hear "cool", but I definitely don't hear "cold". Also, I didn't know that Pollini had re-recorded the last three. Would love to hear your impressions. Cool/cold - that's a really interesting point - yes, agree! BTW - I mentioned his Appassionata...I love the DG recording of course, but there are some incredible live ones. This one in particular I think is pretty astonishing: I saw him play this sonata in London a few years back, and it was frankly one of the most transcendent live music experiences I've ever had! Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 24, 2020 Report Share Posted February 24, 2020 (edited) Motivated by Hutchfan and others Piano Sonata No. 28 Edited February 25, 2020 by Referentzhunter Quote Link to comment Share on other sites More sharing options...
HutchFan Posted February 25, 2020 Report Share Posted February 25, 2020 3 hours ago, Alexander Hawkins said: I saw him play this sonata in London a few years back, and it was frankly one of the most transcendent live music experiences I've ever had! Ah, that's wonderful. You'll keep memories of that concert with you all your life.  Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 25, 2020 Report Share Posted February 25, 2020 (edited) Piano Concertos Nos. 15 & 16 Edited February 25, 2020 by Referentzhunter Quote Link to comment Share on other sites More sharing options...
soulpope Posted February 25, 2020 Report Share Posted February 25, 2020 In the morning .... : Thereof Opus 18 Nr. 2+3+4 .... Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 25, 2020 Report Share Posted February 25, 2020 Piano Sonata No. 29 Quote Link to comment Share on other sites More sharing options...
soulpope Posted February 25, 2020 Report Share Posted February 25, 2020 Quote Link to comment Share on other sites More sharing options...
soulpope Posted February 25, 2020 Report Share Posted February 25, 2020 Next in line .... : Thereof Sonata 32 Opus 111 .... Quote Link to comment Share on other sites More sharing options...
soulpope Posted February 25, 2020 Report Share Posted February 25, 2020 Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 25, 2020 Report Share Posted February 25, 2020 (edited) Â In need for a Mahler cycle. What set has more value ? Also considering first Haitink cycle ( the only complete cycle i litened to on lp, sold it, did not liked it that much, but ain't completely sure) or Kubelik. Edited February 25, 2020 by Referentzhunter Quote Link to comment Share on other sites More sharing options...
Referentzhunter Posted February 25, 2020 Report Share Posted February 25, 2020 1 hour ago, Referentzhunter said: Â In need for a Mahler cycle. What set has more value ? Also considering first Haitink cycle ( the only complete cycle i litened to on lp, sold it, did not liked it that much, but ain't completely sure) or Kubelik. I suspect there is not a completely satisfying Mahler cycle for me. Quote Link to comment Share on other sites More sharing options...
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