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Date: | Tue, 12 Feb 2008 15:15:26 -0500 |
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On Tue, 12 Feb 2008 09:07:00 -0800, Martin Usher <[log in to unmask]>
wrote amongst much thought-provoking things:
>...I have a pianist friend who subscribes to the
>Beecham view of harpsichords (something about "two skeletons copulating
>on a tin roof") and it took me quite a bit of probing to find out why he
>had such a deep loathing for the instrument....
Funny, I posted a little history of Beecham's skeletons on my blog only 2
days ago. http://skowroneck.wordpress.com/2008/02/10/history-of-the-tin-roof/
What always strikes me as odd is that people who "don't like the
harpsichord" (whichever one they mean) are so very decided about the matter.
I actually like the modern piano quite a lot.
I certainly often do have a problem with Bach played on a piano. I have, in
agreement with Martin's analysis, rather more issues with how many pianists
play Bach (Rameau. Scarlatti. Händel), which is another thing. But this has
nothing, absolutely nothing, to do with my appreciation of the beauties and
possibilities of a good modern grand piano.
Sometimes an especially interesting way of playing an interesting instrument
lets me forget my "issues" altogether. One of the nicest piano recordings I
know is the digital version of Reger's Bach variations, which Rudolf Serkin
recorded late in his career. Serkin's brittle and wooden-sounding Steinway
captured at its very best - absolutley gorgeous orchestral playing...I'm not
a huge fan of Reger, and there is in fact a bit of Bach left here and there,
too. Ugh. But the sound of the recording as a whole is a whole 'nother thing!
Tilman
www.skowroneck.de
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