[Klavierman]

Concerto No.3 from this complete and wonderful set.

 

[Klavierman]

Roger-Decasse has been described as a "muscular Debussy"--that's a fair description along with a healthy dose of Scriabin.

 

[Klavierman]

While good, I prefer Weinberg's chamber and symphonic music.

 

[Klavierman]

I love this recording! Maybe a small chamber ensemble provides more color, but Lifschitz' arrangement for solo piano is stunning, even if parts must be very difficult to play.

 

[Klavierman]

I haven't listened to this in ages. Sublime.

 

[Klavierman]

He has told, that he uses "dubbing" in some of the pieces particularly in the trio sonata to overcome the technical difficulties.

Where did you read/hear that? I don't recall him mentioning it in the CD booklet (Rather disconcertingly, I can't find the CD--I listened to it via Qobuz yesterday), nor can I find any references to him overdubbing online.

 

[Klavierman]

Having heard his Musicalisches Opfer it was clear to me, that he was using dubbing or had got assistance from another musician, so I discussed this with a friend, who decided to write to Lifschitz and ask about it. And in his answer he confirmed the dubbing.

Well, that is disappointing! I, too, initially suspected he might, but then after listening to a lot of Sorabji and insanely difficult orchestral transcriptions I was convinced that technique has improved to the point that the once seemingly impossible is now merely difficult. I guess he’s simply an ordinary virtuoso, not one of the current super-human players!

 

[Klavierman]

Speaking of insanely difficult orchestral transcriptions...

 

[Klavierman]

A little Henze to get my day going.

 

[Klavierman]

Vierne Organ Symphony No.2. Suitable for the stormy weather today.

 

[Klavierman]

It was a ballsy move to play Boulez's Sonata No.2 at a competition!

 

[Klavierman]

 

[Klavierman]

 

[Klavierman]

This should be in my mailbox in a matter of days. Really looking forward to it!

It's very good (hard to miss with those artists!), but sometimes her tone can be a bit grating to my ears. She tends to sacrifice some tonal beauty for intensity.

 

[Klavierman]

Well, this intensity will serve her well in Janáček and Bartók, but the Brahms could pose a bit of a problem in this regard. Thanks for the feedback.

That was my feeling. Of course, I’d take intensity over a tepid performance! Somehow Heifetz managed intensity and maintained good tone, so it is possible.

 

[Klavierman]

 

[Klavierman]

I was inspired by the Reger posts to play this. Tremendous playing and very good sound.

 

[Klavierman]

I got a kick out of the label's PR release:

"When the red light in Studio 2 at the famous Abbey Road Studios came on at the start of the recording sessions for Elschenbroich’s and Grynyuk’s latest ONYX recording, the control room had a very different atmosphere. The recording was made using analogue technology – tape recorders, vintage microphones, and longer takes.At no point was the recorded material subjected to a digital process.

Elschenbroich wanted to capture a specific sound for these sonatas; the recorded sound of the late 1950s and the 1960s was his goal. The result is a wonderfully
intimate, warm yet clear sound, as if the musicians are actually in the room with the listener – not clinical, not a bright superficially impressive digital sound, but a
sound that captures perfectly the best recorded sound of the golden years of the LP. Importantly, it is the sound by which the artist ‘recognises’ himself. As Elschenbroich writes in the notes ‘ the listener only needs one pair of ears and the music must come to life in their unique space’."

So, why release it in digital-only formats?? To be sure, it's well played, the sound is rich and full, but also rather closely mic'd and dry. I'd definitely buy the LP if they ever release one, but in the meantime Qobuz's 24 bit 192kHz streaming will suffice.

 

[Klavierman]

Despax does a great job of playing some formidably difficult transcriptions for piano, especially Bach's Passacaglia and Fugue in C minor. When I'm feeling sufficiently ambitious, I'll give it a shot!

 

[Klavierman]

I wasn't familiar with Herchenröder's music before playing this recording. (He studied composition with Hans Werner Henze.) This is not the most immediately accessible new music that I've heard, nor should it always be, but it's not complete noise, either. (Well, it might be for some!)