After a slew of Russian-school pianists who bang like road hammers and pedal faster than Lance Armstrong, it’s a huge relief to come across a keyboard artist who treats the modern piano like Meissen china.
His latest release is my Album of the Week on sinfini.com. Click here.
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Mr.Leberecht’s usual russiophobic comments aside:Why should I want to listento a pianist with a limited dynamic range?If so,there’s always Richard Clayderman.
Delighted to learn about this artist, and his utilizing a sound and touch akin to, as close, to, the original sound world of these compositions. I will seek this out to have a listen to what you share here. Personally, I had the opportunity to play on vintage, restored instruments which include these classical era keyboards, and enjoyed the differences in their construction, touch and sound. I often tell my students to be very careful with their conception of dynamics through the centuries. What was a ‘forte’ sound in 1808 is quite different from a ‘forte’ sound in 2015. Much of this has to do with the room size and instrument being used for the recording, of course.
……a touch like a midwife
Running risk of being declared russiophobic one does come away from the russian
school of piano playing wondering if such a notation as p …is in their teaching , I do
note that a double p causes them to panic and a triple p to invite heart failure . Mr. Fray
is an interesting player but must be cautious not to turn this into a schtick . Mr. Lebrecht
might also find Piotr Anderszewski a less mannered pianist worth hearing .
You would prefer Liberace to Richter, Gilels, Sofronitsky, Sokolov, Yudina, Lugansky, Heinrich Neuhaus, Stanislav Neuhaus, Yovanovitch, Pletnev, Horowitz, etc. etc.
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