For upper intermediate and advanced players wishing to sharpen their ensemble playing skills, another little known but excellent volume by Linde is his (Quartet Study for Recorders).This is a series of fifteen challenging etudes for an SATB quartet of recorders, and may be used either by solo quartets or larger ensembles.
Until just recently, the only edition has been a heavily-edited one from the mid-20th century by Walter Bergmann, but a new Urtext edition has just been published by Schott as part of the new Hindemith Complete Edition and is highly recommended.
(1935, Philips CD) - With Fischer (1886 - 1960) we approach a relatively straight-forward rhythm that paves the way toward our modern expectations - hardly surprising in light of his role as a Bach pioneer (having recorded the first integral set of the ). Fischer also clearly emphasizes the lyrical elements at the expense of power, leading to a rather inert finale that depends upon cumulative driving force for its impact. Yet his poetic approach is studded with occasional touches that produce an unexpected and striking effect - an especially emphatic cadence that suggests victory, a pause that implies relief, resounding bass that creates a sense of ominous expectation, accentuating alternate notes within a sequence of repetition to create a fascinating syncopation. Each of these conjure a realm of emotional overtones that make the entire work more accessible, even for those already familiar with it. Other touches are less welcome, though, as Fischer's execution is haphazard, with a disturbing number of wrong or missed notes and mangled runs. Even so, with Fischer we hear the confluence of two strong personalities - the composer's and the performer's - which is the very essence of this recreative art.
The Lute Society has the rarer instruments (lute, cittern, bandora and wooden flutes) for hire, and can supply sheet music. The lute parts are very hard, but after a couple of years of playing the lute you might well be able to manage the bandora parts without too much difficultyâask to have a go on a bandora next time you go on a lute-based summer school!
(1939; Philips CD) - Gieseking (1895 - 1956) was known as a specialist in the French impressionists and Mozart. (He recorded the first complete set of the Mozart piano sonatas with an even-handedness that chafed against the accepted wisdom of the time that relegated Mozart to rococo insignificance.) His exquisitely light touch, infinite grading of dynamics and sense of subtle coloration produced an that makes us hang on every note, especially in the , where he transforms the usual break between the boisterous outer movements into a succession of heartfelt moods that adds a sense of logic to the transition to the finale, which in his hands is more of an evolution than an abrupt breach. His finale bristles with virtuoso fireworks, played nearly perfectly at a thrilling tempo but never with any sense that he is on the verge of losing control. While his approach may not seem idiomatic, it succeeds in presenting the in a wholly new light that proves its universality. Gieseking's EMI LP remake from the early 1950s is nearly as good, but lacks some of the extreme delicacy of his earlier version.
- All of the above recordings were made on modern concert grand pianos. Also intriguing are any of several recordings on fortepianos, including those by Melvin Tan (EMI), Anthony Newman (Newport), Paul Badura-Skoda (Astree), John Khouri (Music and Arts) and Lambert Orkis (Bridge) - the last featuring on each of three period instruments. Regardless of whether Beethoven wrote his keyboard works for idealized instruments he could only imagine, the fact remains that these were the only models of instruments that he had available for his own use and on which he heard his works performed. Compared to the sound image to which we are accustomed, they have a distinctive woody timbre and a far richer display of overtones at the expense of vibrant bass and sustained tones. Their sheer delicacy and restricted dynamics add a mortal quality to the , as the instruments are pushed well beyond their design and natural emotional range and even seem to balk at the composer's demands. Above all else, hearing the on Beethoven's own instruments emphasizes the extraordinary gap between his creative impulses and the limitations of his time, and fosters renewed appreciation for the unbounded genius of his bold vision.
- Among the many other I've heard, Daniel Barenboim (1985, EMI) takes a deeply heartfelt, impassioned approach with sharp chords, crisp articulation, melodramatic pauses and tempo distensions, all at a patient pace (24 minutes without the repeat) that allows extraordinarily tender passages to emerge. Emanuel Ax (1979, RCA) brings an appropriate and welcome sense of youthful discovery to the work. On the basis of his thoughtful recording, Sascha Gorodnitzki (c. 1955, Capitol LP) deserved far more recognition. Lazar Berman (1976, Columbia) and Vladimir Ashkenazy (1973, London) apply their huge, commanding, outgoing techniques for fine, if not especially distinctive, renditions. Claudio Arrau (1967, Philips) and Alfred Brendel (19xx, Philips) are a bit too dry and objective for me in this passionate music. Van Cliburn (1972, RCA) seems rather perfunctory.
The Lute Society: Krakow 40641, Folger Dowland, Welde, Osborn fb7; Wickhambrook; in preparation: Cambridge Dd.2.11 (and ultimately we hope the rest of the Cambridge MSS: Dd.3.18, Dd.4.22, Dd.5.78.3, Dd.9.33, Nn.6.36), Herbert of Cherbury; in transcription: BL Stowe 389, Royal Appendix 58; Giles Lodge, Westminster Abbey MS 105; fragments photographed in The Lute (1992): BL Add MSS 60577, 6402, 41498 (1993) Magdalen, Edmund, Och 1280, Occ 254 (1999) Westminster Abbey MS 105; journal article in preparation: William Skyptonâs MS.
The first section consists of by Giesbert, most of which are sequential patterns in running eighth or sixteenth notes; they are extremely useful for developing technical facility in bread-and-butter passage work similar to that found in baroque solo literature and, with the guidance of a expert teacher, can also be used to learn the conventions of baroque phrasing and articulation.
The second part, which consists of both explanatory text and copious musical examples, is highly useful to intermediate and advanced players seeking information and expert guidance on a number of specialized topics unique to the recorder.
There are two different ways you can keep up with pop. The first is by drifting along with the current, bobbing immersed in the changing of the charts — so lost from any point of reference on the shore that minor fluctuations (the downfall of an air horn, the outflow of a sound) hardly register. From there, in the tide, you don’t ask, “How did pop get here?” because you were with it the whole time. You, most likely, are in high school, or college, or somewhere that music flows like water all around. Pop, in such places, is understood by osmosis.
(November 1, 1959 at Prague, Music and Arts CD; June 9, 1960 at Moscow, Melodiya CD; October 19, 1960 at Carnegie Hall, Columbia LP; November 29-30, 1960 at a New York studio, Philips CD) - Richter (1915 - 1997) gave the West its first taste of Beethoven played with unabashed Russian passion when he made his American debut in a series of five recitals at Carnegie Hall in October 1960. The first program consisted of five Beethoven sonatas, concluding with the (which, he insisted, could never be followed by any other work). Hyped to the hilt based on reports of his prowess in Russia and Eastern Europe, Richter was nervous and overmedicated and the result is somewhat tentative and a relative letdown (including a disastrous conclusion) - but only when compared to his other three authorized releases, all of which fell within a single year of his long career and feature seething tension, colossal dynamics, massive power and explosive climaxes.