With regrets I discovered finally that youtube fulfilled their threat to introduce their "new design".
All order and work of the users on the original design with the possibility to post comments in a clear and readable way now is lost.
Probably the information formerly to be found on my youtube-channel will be transferred here. In the meantime please excuse the disorder on my former youtube-channel.
Any suggestion how to solve my problem is greatly welcome.
Best regards
Mar 8, 2012
Nov 30, 2011
performance nevertheless
... some videos with disruptions - such is life.
I enjoy these videos very much.
Appassionata90 playing Chopin's first Impromptu on an historical instrument that is like one of thoses he played.
They keys are different - only about 15 g. are necessary to press and only 6 mm instead of 10.
This was the first time I played on an instrument like this - very importand and exciting for me.
I enjoy these videos very much.
Appassionata90 playing Chopin's first Impromptu on an historical instrument that is like one of thoses he played.
They keys are different - only about 15 g. are necessary to press and only 6 mm instead of 10.
This was the first time I played on an instrument like this - very importand and exciting for me.
machinehay upload 18.03.2011 An American Civil War Song Carton House, 9. March 2011
amazing - the ambience, your piano playing and the guard? rushing in, but, thanks heaven, without further disturbing.
Thank you for posting this jewel.
Thank you for posting this jewel.
Some historic pianos
Here I list some recordings i like very much performed on historic pianos;
there is no real resason in the order, just as I discovered them following my mood ...
but it seems it became a C.P.E. Bach-list.
I enjoy the historic origins of fortepiano very much, indeed.
"Abschied vom Silbermannschen Clavier in einen Rondeau" by Carl Philipp Emanuel Bach (1714-1788), performed by María de Lourdes Cútolo in an Anton Tomaschek fortepiano, Viena c. 1855, restored by Leopoldo Pérez Robledo (www.leopoldoperezrobledo.com) - Early Keyboard Music Cycle, Buenos Aires, Argentina (www.cmat.com.ar) - July 12th 2010
The microphone was placed where someone listening in person would be sitting. If you listen to this with good headphones, what you hear will be very much as if you had been sitting there. The sound quality of YouTubes is excellent. But nearly all clavichords on YouTube have been recorded with microphones much closer than your ears would be. The instrument is more related to the builder Friederici.
CPE Bach was known to favor his instruments.
J.S. Bach Sonata B Minor for Flute And B.C. 2nd movm. Largo e dolce Benedek Csalog (baroque flute, P.A.Dupre after Quantz A=415 Hz) Miklós Spányi (Fortepiano after Silbermann) The picture was made during the recording.
Label: Ramée see more at http://ramee.org/0404gb.html
C. P. E. Bach_Fantasia Wq 61/6, Larghetto sostenuto (Live)
Norberto Broggini plays the 1st movement from the Prussian Sonata n° 1 by Carl Philipp Emanuel Bach on the Unfretted Clavichord by Johann Adolph Hass (Hamburg, 1763) of the Russel collection at the St Cecilia's Hall, Edinburgh. UNOFFICIAL VIDEO- NOT AUTHORIZED BY THE MUSEUM.
One Comment I would like to quote here also:
"Thankfully, the old museum mentality of "original condition above all else" is slowly moving aside in favour of true preservation and restoration."
Natalia Valentin Entretien avec Odile Carracilly (francais) - Beautiful explanation about the "historic sound" in french
Natalia Valentin Bagatelle N°7 Opus 33 L.v. Beethoven Presto
there is no real resason in the order, just as I discovered them following my mood ...
but it seems it became a C.P.E. Bach-list.
I enjoy the historic origins of fortepiano very much, indeed.
"Abschied vom Silbermannschen Clavier in einen Rondeau" by Carl Philipp Emanuel Bach (1714-1788), performed by María de Lourdes Cútolo in an Anton Tomaschek fortepiano, Viena c. 1855, restored by Leopoldo Pérez Robledo (www.leopoldoperezrobledo.com) - Early Keyboard Music Cycle, Buenos Aires, Argentina (www.cmat.com.ar) - July 12th 2010
The microphone was placed where someone listening in person would be sitting. If you listen to this with good headphones, what you hear will be very much as if you had been sitting there. The sound quality of YouTubes is excellent. But nearly all clavichords on YouTube have been recorded with microphones much closer than your ears would be. The instrument is more related to the builder Friederici.
CPE Bach was known to favor his instruments.
J.S. Bach Sonata B Minor for Flute And B.C. 2nd movm. Largo e dolce Benedek Csalog (baroque flute, P.A.Dupre after Quantz A=415 Hz) Miklós Spányi (Fortepiano after Silbermann) The picture was made during the recording.
Label: Ramée see more at http://ramee.org/0404gb.html
C. P. E. Bach_Fantasia Wq 61/6, Larghetto sostenuto (Live)
Norberto Broggini plays the 1st movement from the Prussian Sonata n° 1 by Carl Philipp Emanuel Bach on the Unfretted Clavichord by Johann Adolph Hass (Hamburg, 1763) of the Russel collection at the St Cecilia's Hall, Edinburgh. UNOFFICIAL VIDEO- NOT AUTHORIZED BY THE MUSEUM.
One Comment I would like to quote here also:
"Thankfully, the old museum mentality of "original condition above all else" is slowly moving aside in favour of true preservation and restoration."
Natalia Valentin Entretien avec Odile Carracilly (francais) - Beautiful explanation about the "historic sound" in french
Natalia Valentin Bagatelle N°7 Opus 33 L.v. Beethoven Presto
Nov 29, 2011
David Thomas Roberts, Roberto Clemente; a "modern" ragtime
Bryan Wright performs"Roberto Clemente" of David Thomas Roberts
David Thomas Roberts performs "Roberto Clemente" of David Thomas Roberts
For more information about David Thomas Roberts, visit his website at:
http://www.davidthomasroberts.com/
Of David Thomas Roberts' best-known piece, the composer wrote the following for his recording from "American Landscapes" :
"Roberto Clemente" (1979). Roberto Clemente, the legendary right fielder of the Pittsburgh Pirates, was born in Carolina, Puerto Rico in 1934 and died on New Year's Eve, 1972 off the coast of his native island in a plane that never reached the Nicaraguan earthquake victims to whom it was carrying supplies. Although familiar with Clemente during his career, I was no more mindful of him than of some other outstanding ballplayers. It was the film about him shown during the 1979 World Series that transformed my image of Clemente into a myth to be recalled with affection. Incisively moved by this poetic series of glimpses of his career and the circumstances of his death, I had decided by the film's end that there must be a ragtime composition for Clemente, a piece evocative of the man as I had viewed him via the documentary.
I have referred to Roberto Clemente as a "folk elegy" and a "country funeral." Marked "warmly and solemnly," it is a rag forthrightly typifying the plaintiveness -- the gentle anguish, even -- that I have always associated with the lyrical medium of ragtime.
-----------------
Some further convincing performances
The ragtime piano piece "Roberto Clemente" (composed by David Thomas Roberts) was performed by Bryan S. Wright at the Benefit Concert for Japanese Earthquake and Tsunami Relief at the University of Pittsburgh on April 23, 2011.
The concert was titled "This Moment, Once in a Lifetime (一期一会)."
２０１１年４月２３日、米国ピッツバーグ大学にて、東北大震災の被災者の方々のための義援音楽会「一期一会」を行いました。同大学音楽学部・博士課程のブライアン・ライト
Bryan Wright - Roberto Clemente - David Thomas Roberts - 2009 Scott Joplin Festival
David Thomas Roberts performs "Roberto Clemente" of David Thomas Roberts
For more information about David Thomas Roberts, visit his website at:
http://www.davidthomasroberts.com/
Of David Thomas Roberts' best-known piece, the composer wrote the following for his recording from "American Landscapes" :
"Roberto Clemente" (1979). Roberto Clemente, the legendary right fielder of the Pittsburgh Pirates, was born in Carolina, Puerto Rico in 1934 and died on New Year's Eve, 1972 off the coast of his native island in a plane that never reached the Nicaraguan earthquake victims to whom it was carrying supplies. Although familiar with Clemente during his career, I was no more mindful of him than of some other outstanding ballplayers. It was the film about him shown during the 1979 World Series that transformed my image of Clemente into a myth to be recalled with affection. Incisively moved by this poetic series of glimpses of his career and the circumstances of his death, I had decided by the film's end that there must be a ragtime composition for Clemente, a piece evocative of the man as I had viewed him via the documentary.
I have referred to Roberto Clemente as a "folk elegy" and a "country funeral." Marked "warmly and solemnly," it is a rag forthrightly typifying the plaintiveness -- the gentle anguish, even -- that I have always associated with the lyrical medium of ragtime.
-----------------
Some further convincing performances
The ragtime piano piece "Roberto Clemente" (composed by David Thomas Roberts) was performed by Bryan S. Wright at the Benefit Concert for Japanese Earthquake and Tsunami Relief at the University of Pittsburgh on April 23, 2011.
The concert was titled "This Moment, Once in a Lifetime (一期一会)."
２０１１年４月２３日、米国ピッツバーグ大学にて、東北大震災の被災者の方々のための義援音楽会「一期一会」を行いました。同大学音楽学部・博士課程のブライアン・ライト
Bryan Wright - Roberto Clemente - David Thomas Roberts - 2009 Scott Joplin Festival
Nov 17, 2011
Sep 24, 2011
Beethoven Sonata op. 111
With unexpressable joy and satisfaction some minutes ago I received the second part of Sonata op 111 of Ludwig van Beethoven uploaded in the USA by David Hertzberg from classicvinyl.biz. after some months of waiting and hoping due to youtube restrictions to post posts over 15 minutes on ordinary accounts.
Today I asked him once more how to find a solution to post it and he reacted kindly and - immediately.
So here is complete op. 111 by Jörg Demus 1970 at Bonn on Beethovens Graf grand.
As op. 111 is my favorite Beethoven Sonata I would like to introduce a separate post on it here, though you find the same piece in the article about Beethovens pianos also ...
I would like to thank David to share this super-rare treasure, quoting here his included text:
In this rare 1970 live recording, made in Bonn to celebrate the 200th anniversary of Beethoven's birth, Austrian pianist Jorg Demus performs on Beethoven's Graf piano the first movement of Sonata no. 32, Op. 111 in C minor. I created this video from the double LP shown above, issued in 1983 by the Musical Heritage Society. Extensive notes, penned by Demus, about the Graf are included in this video.
Today I asked him once more how to find a solution to post it and he reacted kindly and - immediately.
So here is complete op. 111 by Jörg Demus 1970 at Bonn on Beethovens Graf grand.
As op. 111 is my favorite Beethoven Sonata I would like to introduce a separate post on it here, though you find the same piece in the article about Beethovens pianos also ...
I would like to thank David to share this super-rare treasure, quoting here his included text:
In this rare 1970 live recording, made in Bonn to celebrate the 200th anniversary of Beethoven's birth, Austrian pianist Jorg Demus performs on Beethoven's Graf piano the first movement of Sonata no. 32, Op. 111 in C minor. I created this video from the double LP shown above, issued in 1983 by the Musical Heritage Society. Extensive notes, penned by Demus, about the Graf are included in this video.
Movement 2: Arietta: Adagio molto, semplice e cantabile
Autograph of op. 111 in the digital archive of the "Beethoven-Haus" in Bonn
In case you like to hear op. 111 on Beethovens Graf uninterrupted by clicking on your computer here is a playlist with both parts on youtube.
finally a link to the pianos Beethoven had
David, thank you again and again!
Alfred Brendel schreibt, die Sonate 111 wirke in doppelter Weise: „Als abschließendes Bekenntnis seiner Sonaten und als ein Präludium des Verstummens."
Alfred Brendel writes, the Sonata 111 workes in double way: "As a final confession of his sonatas and as a prelude of falling silent."
In case you like to hear op. 111 on Beethovens Graf uninterrupted by clicking on your computer here is a playlist with both parts on youtube.
finally a link to the pianos Beethoven had
David, thank you again and again!
Sep 3, 2011
ragtime
we all know ragtime as some somewhat "mechanic" music, often performed from rolls on bar pianos out of tune ...
Regardless whether the following examples of ragtimes are perfect regarding "original speed" I post some astonishing examples how ragtime can be heared as well ...
immagine a ragtime like this played on historic pianos this way - not hammered through without feeling.
Did you ever notice the quality as a ballade in a ragtime?
I by the way do not that care whether the scores indications regarding speed are respected perfectly as long as the music "feels good" ....
Same feeling I expressed when I wrote some words regarding "rubato" ...
Score - The Strenuous Life (Scott Joplin)
Did Joplin desire to express "strenuous" as a mechanically continuous flow of action with little modulation or did he desire to express something beside the pure score what I'd like to hope? Was this title written 1902 influenced by a speach of president Roosevelt from 1899? And what might be the real conclusion? It is a pity we do not have records left apart of some piano-player rolls, but better than nothing. So let's have pleasant moments with Joplin anyway.
And now back to the same person again, same piano, seeming less thoughtfull, played faster ...
feels more correct, known, but is a completely different sort of thing...
It is working on other ragtimes obviously as well:
I found a beautiful discussion regarding ragtime beween these both ... and have to state that speed is not all
43 Meyrick1 commented: Bravo!
You have a unique style and you play like a true musician. I love your slight changes of pace. I think if ragtime is played to strict time, it might as well be played on a pianola.
You have a unique style and you play like a true musician. I love your slight changes of pace. I think if ragtime is played to strict time, it might as well be played on a pianola.
Brett Youens, Solace, Scott Joplin
Adam Swanson, Bill Bailey, Won't You Please Come Home by Hughie Cannon (1902).
Adam Swanson, Tiger Rag - Jelly Roll Morton
Adam Swanson, Bill Bailey, Won't You Please Come Home by Hughie Cannon (1902).
Adam Swanson, Tiger Rag - Jelly Roll Morton
The Saint Louis rag - Tom Turpin
Bösendorfer 1880 by Michael Szécsényi
I'd like to finish here with the quotation of a pianistic earthquake:
Bach Played Lewd by Brett Youen
Apart of the fact I like most his Solace really a remarcable piece that combines classic with modern times ...
Brett Youen contact
Find here some further scores of Scott Joplin in case of need ...
last not least my still rapidly growing playlist on youtube regarding "ragtime" in general ...
I'd be grateful for further posts or suggestions regarding "living" ragtime on real/historic instruments
outstanding one of his last performances until John Arpin (Toronto) died:
http://youtu.be/ikA5ciTwT3s
embedding is not possible, so please click above.
please note the sublime rubato and the tender embellishments.
There are so few recordings left with Joohn Arpin, but I am grateful to know at least these.
Last, but not least: An interview
"Meeting Scott Joplin"
...a terriffic document fixing perfectly the spirit of the age ...
Aug 30, 2011
Aug 29, 2011
Weißbrod, Eisenberg
Weißbrod, Robert
was a piano factory in Germany.
Adressbook Eisenberg 1913:
Please find more information at "Tastenwiki"
was a piano factory in Germany.
| Kaufmann | Jenaische Straße 12 | Eisenberg | ||||
| Weißbrod | Robert | Hofpianofortefabrikant | Jenaische Straße 12 | Eisenberg | ||
| Weißbrod | Richard | Betriebsleiter | Kaiser-Wilhelm-Straße 3 | Eisenberg | ||
| Weißbrod | Ludwig | Kaufmann | Jenaische Straße 12 | Eisenberg | ||
| Weißbrod | Elly | verehel. | Weißwarengeschäft | Kaiser-Wilhelm-Straße 3 | Eisenberg |
Please find more information at "Tastenwiki"
Jun 28, 2011
Edith Picht-Axenfeld
by the way; do you, or anybody else, know about films or maybe recordings about Edith Picht Axenfeld regarding her piano-playing?
I had the great pleasure to listen to her personally in 1988 at Münster (D) where she gave a beneficial-concert for a polish-german students-exchange-organisation.
She played Chopin, Schönberg and Mozart (Adagio h-moll KV 540) on the Bösendorfer Grand.
I will never forget her sitting at the Bösendorfer shaken slightly probably by Parkinson but when she touched the keys or some pedal no shaking was visible any longer. I guess regretfully this event remained undocumented.
Best regards
Lieder für Bariton, Cembalo und Basso Continuo -
1. Die Einsamkeit -
2. Glück -
3. Das Frauenzimmer -
4. Seltenes Glück -
5. Die vergessene Phillis -
6. Falschheit -
7. Lob des Weins -
Dietrich Fischer-Dieskau, Bariton -
Edith Picht-Axenfeld, Cembalo -
Irmgard Poppen, Violoncello -
1962
Händel:Sonata in E Minor "Hallenser No.2"
I had the great pleasure to listen to her personally in 1988 at Münster (D) where she gave a beneficial-concert for a polish-german students-exchange-organisation.
She played Chopin, Schönberg and Mozart (Adagio h-moll KV 540) on the Bösendorfer Grand.
I will never forget her sitting at the Bösendorfer shaken slightly probably by Parkinson but when she touched the keys or some pedal no shaking was visible any longer. I guess regretfully this event remained undocumented.
Best regards
----
----
Some posts regarding Edith Picht-Axenfeld on youtube:
1. Die Einsamkeit -
2. Glück -
3. Das Frauenzimmer -
4. Seltenes Glück -
5. Die vergessene Phillis -
6. Falschheit -
7. Lob des Weins -
Dietrich Fischer-Dieskau, Bariton -
Edith Picht-Axenfeld, Cembalo -
Irmgard Poppen, Violoncello -
1962
Händel:Sonata in E Minor "Hallenser No.2"
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Very nice playing!