Prevailing wisdom tells you that when playing a fugue, one should always bring out the subject. I suppose the logic is ironclad: the whole point of a fugue is to have the main theme/subject weave itself in and out horizontally while 3-5 voices weave in and out of themselves vertically.
But I wonder if this way of playing a fugue defeats the purpose.
Isn't the genius of Bach that he could combine the subject and independent material in remarkable ways? It's more that he hides the subject? So if we're constantly pointing out the subject, we're working against the genius of his polyphonic writing.
I like to make the appearance of the subject much more subtle, and bring out the top voice more often than not. Give the audience some credit: most will know what they're listening for, and will search for it anyway. We don't have to hit them over the head with the subject. Even for the audience without significant musical training: fugues are set up that they get to hear the subject alone to begin the movement, then hear it flow from one voice to the next. Given just a little musical ear, and they understand this concept, and will track it as the texture becomes more complex. To me, this unveils a much greater, more subtle form of compositional genius.
I've been giving a closer listen to Anton Rubinstein's Concerto #4 in d minor, Op. 70, since finishing his biography last week. You can check out the score here.
Listening to the first movement, one cannot avoid the connections between this work and the more famous 1st piano concerto of Tchaikovsky. A tendency towards heavy blocked chords jumping across piano registers, the piano accompanying a lyrical orchestral melody with scalar passages, alternating octaves. The piano textures are remarkably similar, and take nearly the same kind of technique from the pianist. The cadenzas also begin the same way: arpeggiated Gb major chords in the LH, like a harp, while a RH melody slow builds.
So the question is: who copied?
Clearly the answer is Tchaikovsky. Rubinstein's concerto was written in the early 1860s, and the first version of Tchaikovsky's came in the early 1870s (never mind the revisions that it went through). According to the biography, Tchaikovsky adored the older Russian from a young age, and though Rubinstein could be considered the younger Russian's teacher, he rarely gave him much mind. Evidently Rubinstein was mostly a teacher by example, rather than a mentor.
Tchaikovsky eventually tired of the relationship and felt taken advantage of. But clearly in this early work, he took many ideas from Rubinstein.
I wouldn't say Rubinstein managed to create moments that are quite as memorable as Tchaikovsky's. The concerto opens without much note, and though the first piano entry is energetic and extroverted, still has no match to Tchaikovsky.
Rubinstein's melodies are beautiful, but not quite the earworms as Tchaikovsky's.
Still: this is a worthwhile concerto. It is very dramatic, especially the coda which follows the first movement cadenza. It shows off the pianist very well, but isn't tremendously difficult.
I'm surprised more students don't pick this piece up. It would make a great stepping stone to the more famous Russian concertos that followed it, but it's still a great piece. I suppose it doesn't have quite the practicality, because few competitions would accept it, nor would many orchestras think to program it.
But there are some excellent recordings out there (I've listened to Matti Raekallio and Joseph Banowetz) and I think many people know of the piece. Let's hope that more pianists pick it up.
I recently finished reading Anton Rubinstein: A Life in Music, by Philip Taylor. I had been eager to become more familiar with the life of Anton Rubinstein (not the better known, more recent pianist, Artur Rubinstein). Rubinstein is today known as a gargantuan pianist from the latter half of the 19th century, a contemporary of Liszt, and epitome of the Grand Romantic Artist. Many people have compared my beloved Nyiregyhazi to Anton Rubinstein: the huge romantic gestures, passionate performances full of equal parts enthralling personality and wrong notes.
In the end, Taylor's biography focussed less on pianistic aspects of Rubinstein's career. In fact, more insight into his playing can be found in the occasional mention of his work in After the Golden Age. There was some insight into his general artistic vision, and his dedication to performing. Across many months in 1872 and 1873, he performed over 200 concerts in the USA, including one stop very close to my current home, performing in Toledo, Ohio (I want to see if there is any record of this event locally).
The book did emphasize his work as a composer, more than that of a performer. This was intriguing. I suppose I realized that he had written a lot of music, but I had only really heard his 4th piano concerto, and then, not in a professional setting.
In fact, Rubinstein seemed to regard himself as more of a composer than performer (similar, again, to Nyiregyhazi). He wrote over a dozen operas, several symphonies, an abundance of chamber music, lieder and a tremendous amount of piano in the form of concertos, sonatas, variations and character pieces.
I've been looking at a lot of his music and listening to some. It seems fair that his output here has been forgotten some. It is rather conventional, and dare I say derivative of Beethoven, Mendelssohn and Schubert, with a few certain Russian touches. Not that there's a lot that is bad but given when he wrote, history was ready to give posterity to composers doing something more new.
Some of it is very beautiful. As I write this, I'm listening to his Ocean Symphony for the first time. There are many beautiful melodies and gorgeous climaxes. He seems to understand writing for the orchestra very well as all sections are utilized in turn, and he writes quite a bit of polyphony. He seems to use form well to create drama and arch. But none of this is anything Beethoven hadn't done.
I may learn a few piano pieces, perhaps to build a repertoire of encore pieces. I think it's most interesting to observe how much history can change our perception of artists. Perhaps if Anton Rubinstein had been alive during Beethoven's time, we'd speak of him as a giant, and Beethoven as a side character. Perhaps if Anton had been alive 20 years later and been recorded, biographies of his life would focus much more on his pianism. As it is, it's difficult to say a lot, other than report on reviews and accounts of his recitals.
I wonder what it would have been like to hear him play, but for now, we must focus simply on his legacy as heard through his student, Josef Hofmann.
Sometime in the midst of my master’s degree, after I had read Kenneth Hamilton’s After the Golden Age, I came up with a study that I think might demonstrate the effects that listening to recordings has on individuality in one’s artistry. At this point in time, I was very frustrated with the general state of piano playing. So many people seemed to love Martha Argerich, and I didn’t get it (I still don’t get it but that controversy is for another post). All this I ruminated on in my last blog post.
As I entered my doctoral degree, I thought I might have the chance to work the study into my program, but as graduate work goes, I got too busy, ended up going another direction in my research and lost the chance to have plenty of student pianists nearby to test my hypothesis. I thought it might be relevant to share the general outline of the study. Maybe someone will one day take it up and test it!
The procedure is simple enough: have two groups of pianists, likely undergraduates though their technical capabilities by no means need be similar. Each group would be given a score of some obscure work, likely from the early classical period, with relatively intermediate technical challenges. The score would make no reference to composer or style. I would recopy the score on notation software myself and include only the essentials: notes, rhythms, tempo indication, and meter. Dynamics, articulation, phrasing, metronome marking would all be absent.
The test group would be given free rein to practice and prepare the score for performance in a given time period. The only stipulation is that they may not consult with any other person in their preparation of the score.
The control group would also be given free rein to practice and prepare for performance in the same time period. They also may not consult with any person in their preparation, but, they are given a recording of the score which they must listen to every day. In the recording, which I would make with an attempt to sound stylistically appropriate, they would hear distinct choices in terms of tempo, articulation, dynamics, phrasing, rubato, etc.
All participants would, after the same amount of preparation, record a final performance. These recordings would be sent to adjudicators. These professional musicians would be aware of the score, plus an edited score representing the distinct choices I made in the recording. Adjudicators would be asked to grade how closely each group adhered to distinct, observable and (relatively) measureable interpretive choices in the recording.
My hypothesis is that the control group would make interpretive choices similar to the recording, more often than the test group would. As my goal in the recording is to not make controversial interpretive choices, I suspect that students in the control group would, without realizing, adopt the logical interpretive choices that I had made. While the test group may also make several interpretive decisions similar, given stylistic conventions, inevitably, something such as exact metronome marking, or articulations in a melody, or dynamics, will vary given complete freedom.
Upon further thought, it may make sense to make one controversial interpretive decision in the recording and see how many of the control group go along with it.
Secondly—What I would include in the score could change. I think it’s important to have as blank a score as possible, so that people’s artistry would be observable on a nearly blank slate. Perhaps I wouldn’t even need a tempo marking, “Allegro” for instance. That would be one way to see who in the control group would resist the pull of recordings enough to question what they were hearing. For instance-imagine having no tempo marking for the opening of Mozart’s Sonata K 545, and hearing it played adagio. One could feasibly, if you never heard this work before, yet intimately understood the style, not question the choice of tempo at all.
Thirdly, it would be interesting to run this study with proficient high schoolers making up both groups, as well as only graduate students, even run it with only professional musicians. Then compare the rate of variance at all 4 levels. What if, on the whole, the control group’s interpretations adhered to the recording at the same rate greater than the test group, whether or not we are dealing with high school musicians, or professional musicians?
I think the results of such a study would be fascinating. None of this is meant to discredit professional musicians, or students. The simple aim is to observe the roots of our artistry, and to find one way of explaining how our general sense of style in interpretation might have a fundamentally different basis than that of artists when the composers of the classical canon were themselves writers of ‘new music’.
Initially, I may have been aiming to hide flaws in my playing. As I spoke of my undergraduate years inthe first blog in this series, my facility lagged behind my enthusiasm for the piano for several years of advanced study. Playing “standard” but rarely heard repertoire masked my flaws by its novelty.
But as my technique improved, I realized another draw to this music: I didn’t like how many people played the standard repertoire. And if my own musical ideas weren’t widely accepted, I could at least more easily let my imagination run freely where few people knew the music.
I had the good fortune during my masters degree to study classical performance practice at the modern piano. Experimenting with the fortepiano, even playing for the legendary Malcolm Bilson in a masterclass, opened my eyes to the fact that not all of our presumed traditions today are in fact what was intended by the composer.
But it was Kenneth Hamilton’s After the Golden Age which truly opened my ears to a sound world, a style of playing, which truly felt natural for my own intellect and tastes.
How do we know what a piece of music is supposed to sound like? Interpreting a piece of music requires a lot of assumptions, interpretational ideas that we take for granted. After the Golden Age challenges a lot of those assumptions.
We often speak today of the “Golden Age of piano playing”, but when it comes down to it, we’re often not sure what that actually means. We fail to acknowledge that pianists of the time—say the mid nineteenth century into the early twentieth century—had practices and authorities that we don’t recognize today:
The character and legendary stature of Liszt, the performer and composer, looms large throughout the book. Hamilton’s goal isn’t to allow unfettered recompositional license when interpreting works of the past, but we shouldn’t dismiss unfamiliar performance traditions—those heard in plenty on the earliest recordings of pianists who were trained in the nineteenth century—as scandalous: Referring to the editor in lavish performance editions:
"Nowadays we need not try to grasp Beethoven’s meaning while being verbally bullied by Bulow, or Bach’s while being harangued by Busoni. But we could, while not denying the indispensable value of the urtext back-to basics approach, also embrace a tolerant position and treat the later performance history of music as offering viable options to present and future players, rather than simply constituting a sad catalog of corruption.” (pg. 280)
After the Golden Age not only introduced me to new expressive techniques in my playing, but challenged my ears, and indeed my intellect, to reformulate how I approached piano playing. For the first time I listened to old pianists, students of Liszt, and was amazed by what I heard. Their playing sounded original, the pieces I thought I knew inside and out felt brand new, the boring phrases sprung to life. My imagination was fueled, wondering what Liszt or Chopin would have sounded like themselves, cherishing this aural link to classical music masters.
And this book ignited a youthful, and sometimes misguided, passion to be different. So while Hamilton fueled my love for piano music from the nineteenth century, he also pushed me specialize in music from the late twentieth century as well as the modern day.
My primary reason for attending the doctorate in Contemporary Music at Bowling Green State University was not primarily for the love of new music. Though I grew to cherish new music, I first and foremost wanted to develop my artistry in a body of repertoire that did not have an established performance tradition.
The resistance to the traditions illuminated in After the Golden Age taught me to place myself in a position similar to these old piano recordings that I loved. By working with living composers, I could be an active part in the creation of musical masterpieces. In building an authority in this way, I hope to justify my playing upon my return to the traditional repertoire…But more on that in the fall!
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His discography details an intentional identity. Two volumes of Scarlatti Sonatas, a volume of Haydn, collections of Scriabin and Chopin, along with concertos by Tchaikovsky, Medtner, Scriabin, and Rachmaninov (choosing the rarely heard original version of the 4th concerto, itself already obscure). Even in a solo volume of Rachmaninov, Sudbin plays the less famous Chopin Variations, instead of the better known Corelli Variations to couple with the 2nd Sonata. Sudbin (with the exception of Medtner) plays the most standard composers, yet he tends to champion their lesson known works with equal vigor as the masterworks. In the famous pieces such as Tchaikovsky’s first concerto he manages to find his own voice.
There is something to be said for forging your own path. Sudbin said that he not only began playing, but also improvising at the age of 4. He still does his own arrangements, often song transcriptions for solo piano.
Beyond that, Sudbin is an active writer on music. All of his recordings that I’ve perused have been accompanied by his own liner notes which provide historical context and clues to his interpretations. In all ways, Sudbin takes an active part in the creative process.
I decided to focus on Sudbin’s Scarlatti recordings, in particular the C Major Sonata K. 159 from the second Scarlatti volume in 2016.
In the liner notes to the original Scarlatti recording, Sudbin describes the draw to Scarlatti’s oeuvre (he also reveals-unbeknownst to me, that Scarlatti’s 555 brilliant sonatas were only begun when the composer was 50 years old!). He says that Scarlatti’s compositional voice stands alone in music history: there is no distinct, singular origin or contemporary parallel. Of course, to come to this conclusion, one need only compare Domenico’s keyboard works to the vocal works of his father to see that little musical genetics were shared across generations.
Furthermore, Scarlatti wrote these Sonatas protected and perhaps isolated by royal patronage, which in my mind elicits comparisons to the future works of Haydn: “Probably because he (Scarlatti) composed all of his sonatas for the Queen, who by all accounts was a brilliant performer, and because he wasn't seeking popularity or commercial profit, he could allow his imagination free flow.”
Sudbin does not see these works as necessarily fixed by the limits of technique, instrument or musical creativity known to Scarlatti: “Both the Queen and Scarlatti were extraordinary harpsichordists and had great improvisational skills. It is very plausible that for each of the notated sonatas, there were 50 or so other versions.”
He later speculates that due to the diversity of the sonatas, their immense creativity, that Scarlatti had an inkling that a better instrument (the modern piano) would exist in the future, and that musical styles would continue to evolve. The last two points are a defense to suggest that Scarlatti would not have been surprised to hear his works played differently as time moved on.
So Sudbin allows himself certain luxuries in his interpretations. He utilizes the binary form that Scarlatti composed in to play the material once through largely as one would expect. The A section in K. 159 is unoffending the first time through but with an immense and joyful character: brassy fanfare in the right hand and a dancing lilt in the left.
But listen to what he does in the repeat! The opening is played softly and with the pedal for the first 4 measures, before contrasting with the fanfare texture the next 4 measures. The next two phrases continue this trade off. No student could get away with this muddy texture because it’s not traditional. “Scarlatti didn’t have the damper pedal!”
But it makes sense. Sudbin still has clarity, he’s just opening up the strings of the piano to vibrate more openly as the strings on a harpsichord (which doesn’t have dampening at all) would. It’s a color, not an obfuscation of the texture.
He also allows himself all kinds of ornamentation upon the repetition (as he does in his Haydn recordings). Improvisation, afterall, was an essential part of one’s musicianship during the time that Scarlatti wrote, and one can easily argue that for any composer from the 18th, even 19th centuries, what is on the page need not be a limit to what one does in performance (you could even hear his liberal use of the damper pedal as simply an ornamentation).
In the fourth system of the first page (I’m looking at this score), a leaping motive is enlarged to over an octave. For the last one, jumping up to D, he ornaments the approach with a glissando, adding to the spritely spirit.
On the second page, in the second system, he holds the low Gs, perhaps with the sostenuto pedal, then reorchestrates the parts. Both parts as written are taken in his left hand, and the right hand doubles the melody an octave higher. He treats the piano momentarily like an organ as pedal stops, different manuals and octave coupling create a variety of color.
He adds simple ornaments, trills, appoggiaturas and doubling octaves. But he goes as far as to add notes. He fills out the bare octaves at the very end of the pieces with an ornamented third. Not a big deal, except ending on open octaves is a common thread in Scarlatti’s music.
All of these changes are just a gateway into understanding the beautiful artistry Sudbin brings to Scarlatti’s music. Each one sounds like the work of a different composer, and each individual sonata is full of variety. Listen for his ever evolving variety of articulation, ornamentation, or sudden surprises in the left hand voicing, etc. While K. 159 is a fanfare, K. 208 is a dramatic operatic aria and K. 213 in d minor is a dark lament. Sudbin plays both the famous and the obscure sonatas with an equal admiration and careful crafting to show the ingenuity, virtuosity and artistry of Scarlatti.
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But this follow-up I disagree with: “he somehow obliterates his own enormous musical personality by his occupation of the territory of the author he plays.” I’ve never done a blind test, but I would wager that I could tell Sokolov apart from other pianists if I did. It’s precisely because his musical personality shines through the notes left by the composer that I enjoy his artistry so much. He has a unique gift to reconcile a composer’s voice with his own.
And then one more statement I do agree with: “Sokolov’s first concern is always his relationship with his instrument.” He is first and foremost a pianist, in the best sense possible. He knows how to express music through the piano.
It’s well known that Sokolov doesn’t collaborate, whether in chamber music or concertos, at least not anymore. He’s often said that it’s too difficult to find a musical partner with similar musical sounds, not to mention, the economics of rehearsing an orchestra long enough to have a unified musical message.
So he plays solo, exclusively touring Europe with one program each year. Clearly he gets to know his program so well that once he’s performing publicly, he knows exactly how to make his music heard perfectly.
But that requires the perfect instrument. Sokolov is also known for working as his own piano technician. Spending hours alone in the concert hall before a recital, he will adjust the piano so that it responds exactly as he would like it to.
That might sound like ‘cheating’, manipulating the playing field so that he’s always playing with home-field advantage. But if you make that much effort not just to understand the technical work of adjusting piano mechanisms, but to know exactly what you want out of an instrument, why not utilize it?
So he’s truly someone engaged with what a piano is capable of musically, chooses a program which engages the piano best, and masters the small repertoire to create incredibly moving performances. To go a step further, all of his commercial recordings are live, unedited recordings. I don’t know if he’s ever stepped foot into a studio or had an audience hear a recording of his playing that was spliced together from multiple takes.
It was difficult to decide what recording to focus on, but I decided to look at Chopin’s 2nd Sonata, Op. 35. Chopin, being a pianist’s composer, and Sokolov, being a pianist’s pianist, sounds like the perfect combination.
Chopin of course took ample inspiration from the world of Italian bel canto opera, and wrote in such a way to best approximate the singing style on the least-singing instrument. The best Chopin singers surpass the piano’s percussive nature to create the impression of singing legato with the requisite balance of phrasing, dynamics and rubato. I’d like to suggest that Sokolov is uniquely qualified to find this balance because of his total engagement in the piano as an instrument.
Of course he sings throughout the first movement. The left hand is not overwhelming in the opening agitato theme and his nocturne impulses shine in the secondary theme. The second movement is as playful as the music allows, making the most of the changes of register, and the motivic repeated notes are never hammered. In the famous third movement he acquires the necessary bleak character, and even manages to make the piano sob at the sforzandos, or the left hand trills in the march section. He makes sense of the strange finale by adding color with the pedal and draws our ears closer by alluding to motives in his voicing.
I’d like to look most specifically at one spot in the Development section of the first movement, M. 137-153, heard at 5:24 of his recording. Here the agitato theme in the right hand is combined with the opening descending sixth octaves in the left hand. If you listen closely, there’s a slight hesitation in the right hand to give a moment longer to listen to the left hand. In that way, the left hand sounds full in tone because the sound has a moment to bloom, and we get to listen to the combination of the two themes.
Without that regular hesitation, the piano would sound completely homogenous, instead of heterogenous. Sokolov understands and hears how the sounds he makes at the piano will be perceived at his attack, and exactly how it will decay, and he manages every other musical decision around those basic realities. And because he works so closely with his instrument at each performance, he is able to guarantee the response that he wants. In this way, Sokolov ismuch unlike Glenn Gould who prized structure over the sound.
For me, her Mozart—like many other pianist’s—is too neutered: the left hand too insubordinate and dull, the slurs smoothed over. Uchida said in an interview that she would love to express what’s ‘inherent in the score’, but says ‘it’s not possible’. We are too influenced by our culture, our upbringing and our listening to other artists. I couldn’t agree more on the latter point. It just seems that she focuses too much on the score in Mozart. (I wonder if that was a younger Uchida.)
Her unique upbringing will inevitably would have led her to hear music differently. She often states that growing up in Vienna influences her connection to the music of great Viennese composers.
She describes her ideal approach to musicality another wayin a more recent interview. Uchida says that she tries to approach each composer and each piece, with a blank slate. Her work, whether privately in practice or publicly while in performance, is an attempt to discover the music without outside interference, or even from yourself and the way you did it the day before. Approaching music this way we will inevitably strike a balance between performance traditions and our own honest musical selves.
Schubert is of course best known for his composition of lieder, revolutionizing the art song with piano accompaniment. Whether it be for allowing the text to guide the composition, or for including the piano as a collaborative element, more than accompaniment, his vocal works are rightly celebrated to this day.
I think the reason I love Uchida’s Schubert so much is that she sounds like she’s playing lieder. Coupled with the blank slate approach, and her playing begins to take on qualities of storytelling: always fresh, always vibrant. Schubert in her hands sounds like long narrative songs without the words.
I’d like to focus on her performance of Schubert’s second-to-last Piano Sonata, the one in A major, D. 959, although her complete Schubert set is worth listening to extensively.
The first movement begins full of majesty. Each new harmonization of the As in the right hand have a color and direction of their own. Her left hand continues its active role in measures 10-13. Try isolating your listening to only hear her left hand. There is so much shaping there, an entire phrase, even though it is the background texture. The transition from measures 28-39 has so much drive, it sounds like she’s accelerating, but check a metronome and she’s staying unusually steady. I think this phenomenon has something to do with the crispness of her right-hand articulation.
She slows down the tempo for the second theme, even though it’s unmarked. I discussed the need for this in the previous entry in this series.
Uchida herself has an interesting discussion about tempo in the Steinway interview linked above. She says that a metronome marking could be perfect in one performer’s hands, horrible in another’s, depending on what else they do with the piece. There is no right tempo. This seems intuitive of course, but why shouldn’t we intentionally apply this concept to individual musical themes? Especially in a single Sonata movement, where the form often pits two contrasting themes against each other.
This choral is where we first hear a truly song-like melody. She plays it very simply at first, from measures 55-63. When that melody is developed starting in 65, her tempo is again largely the same, but he addition of the left-hand accompaniment creates a greater sense of motion. Not only that, but the left hand is shaped such that the eighth notes on beats 2, 3, and 4 are voiced as a countermelody to the soprano voice. If the whole pianist is a collaborator in lieder, the left hand must be the collaborator in the piano sonatas!
To hear a great lieder-like collaboration between her left and right hands, look no further than the beginning of the finale. The right-hand sings impeccably while the round shapes of each half note space in the left hand follows the rise and fall of the melody’s phrasing.
Even though I like her shifts in tempo, I am most amazed with how steady she is between tempo changes. Yet it doesn’t sound steady in a perpetual motion sense. Her control of her sound to make a phrase is something to behold, study and be inspired by. Sound influences time so much in her hands, and as someone who allows time to control everything in my own playing, I am enamored with this skill when played with Uchida’s perfection.
A final interesting thing to note, since I criticized her neutralization of slurs in Mozart, is her voicing in measures 90-105 of the finale. Since no slurs are present in the urtext edition, most people would likely play the right hand as one steady voice throughout this section. Uchida turns the right hand into a duet. A lower voice in 90-93 begins, then is interrupted by a higher voice, the upper octave that measure and the next. Then the two voices trade off beats 3 and 4 of one measure and 1 and 2 of the next. It’s a minor detail, not brilliant save for the fact that, by making a choice of voicing the right hand slightly differently, a textural dialogue that is absent in the score, is discovered, magnifying our listening to the piece.
Tony came out guns blazing with a rowdy Scarlatti Sonata, that I don’t know I’ve ever heard. Good on him from staying away from the select group of Sonatas popularized by, say, Horowitz. I loved his approach to this toccata like style, bright but with an awareness of implied voices. He had so much contrasts of character, if he plays Mozart this way, I will be won over entirely. The second Sonata (marked wrong in the Medici program, it’s K 9) was played very unusually. I played this when I was just a couple years younger than Tony now and never would have gotten away with the rubato he utilized. But I liked it! Maintaining a Baroque approach to articulation, he brought out natural lamentation qualities in the melody line.
One thing that stood out in his performance of the 2nd Chopin Sonata was the 2nd movement. Usually, given that this is a Scherzo movement, performers stay on the lighter side, taking a cue from traditional classical sonata scherzos. Yang does not-it’s very heavy and agitated, and he inserts several noteworthy agogic accents.
It’s hard to keep writing about Pictures at an Exhibition after a while! Overall I was very happy with Tony’s performance, expressive in its varied nuances. Perhaps not the most original performance of the piece, even in this competition year, but still, he aptly captured the characters of different paintings very well.
I’ve said it before and I’ll say it again: when you have the same rhythmic device repeated over and over again, you can’t phrase it the same way with rubato and dynamics. The first movement of Beethoven’s Op. 109 is full of this; you’ve played the opening once, you’re a different person, we’re a different audience for having heard it, that has to affect how we hear that rhythm the second time, and that third, and the fourth; the fact that it’s played on different notes isn’t enough! I wish Sunwoo thought the same as I do. Often times, especially in the finale, he sounded like he was headed towards the climax of a phrase, only to level off and never really reach any destination.
As surprised as I have been by enjoying Prokofiev’s 7th Sonata, it was fun to hear the 6th Sonata for the first time. Here, Sunwoo had all of the demonic energy necessary, especially for that spinning-out-of-control ending.
First thing to say about the concertos is how it looks amazing to play for Nicholas McGegan (http://nicholasmcgegan.com/). I’ve always preferred conductors not to use a baton, likely because I’ve played for substantially more choral conductors than instrumental conductors. Furthermore, he seems to have the perfectly, friendly approach to the orchestra before he begins-check out the ‘quiet’ finger on lips reminder before the very first concerto, not to mention the clear joy he derives from the music, or the real-time reaction to one orchestra member with the slight smile near 31:20 of Broberg’s performance. Finally, he has some new sounds coming from the orchestra-I’ve never really heard the orchestral exposition of K. 466 with that much attention paid to articulations before.
As I aim to be analytical, but not critical in these reports, I may have to bite my tongue amongst these Mozart concertos. In general, I find Mozart is played in far too neutered a fashion nowadays. I get it-Mozart is most synonymous with opera, we must sing at the piano! But Mozart’s opera is different than bel canto opera. Pianists try to sing in Mozart at the expense of the plethora of slurs, and interesting left hand accompaniments in the score. As a great singing teacher once said in a lesson that I accompanied: singing is just glorified speech. So more than anything, Mozart at the piano ought to resemble great rhetoric first and foremost.
Leonardo Pierdomenico-I didn’t dislike anything he did, and this isn’t me biting my tongue. He sounded like a speaker you learn a lot from but who doesn't drive you to action.
Kenneth Broberg was more successful in this front. He’s already ahead by the luck of programming the only non-top popularity concertos. There was a little more bite and clarity to his articulation and drive in the direction of his phrases which came to a head, rather than sounding like a smooth, rounded line. Evidently he wrote his own cadenzas. Some commentators on social media were trying to make something political out of the appearance of La Marseillaise in the cadenza. If it was intended that way, it's a weak effort as clearly it's melody and that in the development are closely related and including the French anthem is the natural conclusion of any improvised cadenza since the song’s popularization.
I wish I liked Daniel Hsu’s concerto better. It probably doesn’t help that this is the one Mozart concerto that I’ve actually played. I thought he had beautiful right hand phrasing, but in the long bel canto fashion which doesn’t give Mozart his due. Plus his left hand was nearly non-existent. However, the cadenzas by his composer older-brother (https://andrew.hsumusic.com/) were fantastic. Perfectly taking us in and out of Mozart’s harmonic world; these really increased my enjoyment of the performance as a whole.
Two things stood out immediately in Dasol Kim’s Mozart. One-no tuxedo! He still dressed formally, but I loved that he broke with tradition. Secondly, upon the first entrance he makes, his left hand was brought to the fore to create a BEAUTIFUL duet with the right hand. Throughout, his left hand can be heard supporting the right as the bass line, and its filigree rises to prominence if the character requires it. The opening theme of the second movement can be dull if the two groups of two eighth notes in M. 1 are played exactly the same. Kim let them swell a tiny bit, this is a Romanza. I would have preferred that the two parallel statements of the finale theme were treated in a similar way, but I can’t get everything I want.
Han Chen gave the Bach-Busoni Chaconne as much Baroque as he could. He played with very measured articulations, with purposeful timed releases in slightly detached sections, and was careful to avoid over-pedalling. The spacing between the notes became very expressive as a result. I’m not saying you need to play it in such a way, but it’s a very interesting take that with consistent dedication, turned out a kind of performance of this piece that I’m not used to hearing.
I can’t say that I’ve ever heard the Scriabin Fantasie all the way through and I’m better for hearing it today. I followed along part of it with the score to get a sense of style. The piece requires the pianist to balance the transitory elements of the composer’s evolving style. A lot of the textures and melodies are from Chopin, but some colorful harmonies are creeping in from later Scriabin. More than anything, he keeps a lot of color and ambiguity present from rhythm: quintuplets against duples, quintuplets against triplets, etc. This was a very convincing performance, I thought Chen followed Scriabin’s wanderings very well.
Chen put his clean articulation to use in the Janacek. Here especially the melodies are supposed to sound like a spoken language and we heard it from the start. Not that there aren’t explosions of anger and passion too. Chen morphed from one to the next very well.
I’ve said it before and I’ll say it again: Kreisleriana is a tough piece to pull off. I heard an amazing lecture recital analyzing all the symbolism and connections between the movements...but subsequently heard none of it in the performance. Maybe this piece is more gratifying for the performer? Nonetheless, Rachel Cheung gave one of the most compelling renditions I’ve heard. Her playing never felt constrained to a beat, her rubato being very organic. She was continuously aware of what was going on in the texture and she made sure she directed our ears to the music that was going on at the time. I still fail to see the value of the piece being so long, but I enjoyed moments here.
I always thought the opening of Prokofiev’s 6th Sonata should be driven by the left hand. I want to hear that incredibly dissonant leap voiced well, plus a little hesitation between each, and Cheung did the marvelously, creating the chaotic, disjunct opening with the right hand, that this piece needs. In that way, the understated section that follows seems far more appropriate. This piece has the hands crossing over a lot for pointillistic melodies or dialogues, and I was very impressed with her consistent voicing here; it wasn’t just acrobatics. This piece can easily sound like a mess and her version made perfect sense.
There was an understated tension in Song’s performance of the d minor concerto that I can't quite diagnosis. I do think part of it is he articulates the ends of phrases more than most. Even though he didn't do a lot of the things I usually listen for in Mozart, I found his playing engaging nonetheless. The first movement concerto took a slow tempo early on which really cranked up the drama more than most.
Honggi Kim played one of two non K 466/467 which certainly helped his cause. But I wasn't too excited by his style. While in the finale, he played orchestral-like outbursts in the appropriate places, it was all too tame for me through the rest of the concerto.
I’m not sure what to say about Yuri Favorin.
Tchaidze had some moments. The stormy middle section of the slow movement was especially effective, picking up the tempo somewhat. You’ve got to wonder what a period specialist such as McCegan thought of that idea. The Finale was a faster tempo than most, going off of my memory of other performances. It is supposed to be Allegro Assai, and some only get the first word. I loved his own cadenza in the finale. It did not let up, carrying the energy through, making the transformation to D Major all the more meaningful.
I'll post recaps of today's performances, plus I'll make my predictions before checking out the results, and then make a couple comments as we move into the Finals. That should all be posted tomorrow morning, if not tonight!
She concertized as a young woman around Europe, but settled to raise a family, continuing performing during World War II. Moving to the U.S.A. after the war, she never gained a significant performing career, even though at her age she still played with impeccable technique and musicianship. The recordings we do have from her exist from this late part of her life. (See this website for my sources, and more, on this incredible life story.) Typically I believe in supporting artists by, at the very least, streaming their recordings from legitimate services like Spotify or Apple Music. Unfortunately, most of Freund’s recorded work is unavailable anywhere, even secondhand CDs. YouTube is the best way to make her art visible.
I’d like to continue my focus on Brahms. Seeing as how he adored Freund’s playing, it is noteworthy to hear her approach to his music. What old performance practices, perhaps things decried today as outlandish techniques, do we hear from this legitimate, audible record of the composer’s intentions?
To see, let’s briefly walk through just the first movement of Brahms Sonata No. 3 in f minor, Op. 5. My hope is that illuminating some of the techniques in her performance will give you a greater appreciation for her extraordinary intentions in music making. This is quite a different approach than I took in the first post about Glenn Gould! I’d recommend listening to the first movement in its entirety with the score, read my post and check out the specific spots, then take some time to listen to the Sonata in its entirety, perhaps without the score. You’re in for a treat!
Significantly, throughout the performance, we hear plenty of unmarked arpeggiation of chords, or anticipation of the left hand. These unmarked forms of subtle rubato are so common amongst early recordings by pianists trained in the 19th century and are so often vilified as ‘sentimental’ today. You can’t perform asynchronously what is marked to be played synchronized! And yet, they do. Consider measure 7, (hear it here). Asynchronization of the hands is tricky to hear, so much that you probably need headphones on to hear it properly, but the left hand is slightly agitated, often anticipating the right.
You’ll also hear this technique in nearly every lyrical area. Consider the second theme in the first movement (measure 39). The left and right hands are so asynchronized that one would almost hear this as Chopin.
Often times these techniques are closely related to polyphonic playing. Pianists create more layers by arpeggiating or asynchronizing the hands, allowing our ears to catch up to hear melodic lines that we otherwise would not be aware of. In doing so, the harmonic structure and natural counterpoint is laid so much to the fore.
Freund is incredibly sensitive to the polyphony Brahms himself wrote in. Consider the c# minor section of the development (heard hear). Each voice is matched perfectly to itself, and balanced with each other so that the canon is easily audible. At the same time, the general harmony of the phrase has drive and direction. Contrast that with the searching melody which happens at the key change to 5 flats. The syncopated right hand chords are played as triplets, rather than eighth notes but this lilt provides rhythmic anticipation which suggests the harmonic stability is an illusion, pointing us towards the true, unstable, development which will break out momentarily.
Consider her tempo. The first movement begins at a quarter note around 70. The second theme is actually played faster, beginning in the 80s and accelerating (even before the un poco accel) to the 100s. I’ve heard it argued that all tempos in such classically minded composers must “live under the same roof”, that is, to be very closely related to each other, considering that they share the same foundation. I’ve also heard it argued “you don’t feel the same in the living room the same way you do in the kitchen or bathroom!” Freund, and pianists of her generation seem to feel closer to the latter: themes have their natural tempo which must be taken to promote the true character.
The un poco accel at the ended of the exposition are treated as significant events, there’s nothing ‘little’ about them! Furthermore, they are more a sudden change of tempo, rather than gradual. But she slows down significantly for the cadences, especially the final resolution on the repeated Db major chords. She’s extremely mindful of the structural significance of every measure she plays.
Listen to the last 23 measures (heard here). This is the first theme heard in the parallel major, and the tempo is just a little faster than the opening of the movement, mid-80 beats per minute. The Piu Animato jumps to nearly 100 beats per minute, which is fair enough. But the hemiola section 5 measures later is suddenly at 170, without provocation.
Would you have noticed that if I didn’t point it out to you? I’d wager you wouldn’t, and that’s the key. Unless you’re counting along with a metronome like I was (for analysis purposes!), you aren’t consciously aware of these vast changes of tempo. Our primary focus ought to be on the transformative artistic picture which she is creating. The tension her changes of tempo create are more important than the means used to create the tension.
I’d like to point out one more minor detail which sets mature artists apart from mortals like myself. In the development, 8 measures before the key signature returns to 4 flats, the left hand begins with a dotted sixteenth, 2 thirty-second note rhythm (heard here). She voices the thirty-second notes very clearly, instead of throwing them away. In fact, it’s almost like the first short note has a slight accent, which typically is a big no-no. But she has a specific reason for paying attention to these short notes: in the fifth measure of this motive, the thirty-second notes are followed by an eighth note, jumping up a tenth. Given her attention to the short notes preceding, we can hear the stretch of that interval. It sounds like one voice, where as so often, this motive sounds pointilistic, like two different instruments, which given Brahms’s phrase marking, is not the intention.
On a closing note-there are several other Etelka Freund performances out there, other Brahms and a few other composers including Bach, Lizst and Bartok. Check them out. They all sound like Etelka Freund, which is a mighty fine accomplishment. If we inevitably are influenced by music around us, as I will always argue, we’re never going to present a sound authentic to only the composer. Rather than sounding like a neutered version of someone else’s impression of the composer, we might as well make an intentional effort to sound most consistently like ourselves.
"Modern performers seem to regard their performances as texts rather than acts, and to prepare for them with the same goal as present-day textual editors: to clear away accretions. Not that this is not a laudable and necessary step; but what is an ultimate step for an editor should be only a first step for a performer, as the very temporal relationship between the functions of editing and performing already suggests." -Richard Taruskin, Text and Act