piano

Bach: Italian Concerto, French Overture (Diary 2013-03-31)

Bach: Italian Concerto in F major, BWV 971 — Walter Gieseking (1940), Wanda Landowska (1933), Gustav Leonhardt (1965), Andreas Staier (1993), Ton Koopman (1986), Christophe Rousset (1990);
Bach: Partita in B minor, BWV 831, “French Overture” — Walter Gieseking (1950), Glenn Gould (1970), Christophe Rousset (1990), Andreas Staier (1993)

Beethoven: Piano Sonatas opp.13 & 27/2 (Diary 2012-12-31)

Beethoven, Piano Sonata No.8 in C minor, op.13, “Pathétique” — Backhaus (1958), Barenboim (1984), Badura-Skoda (1969), Schnabel (1935), Fischer (1952), Gulda (1967), Immerseel (1983), fortepiano), Gilels (1980), Brautigam (2003, fortepiano); Piano Sonata No.14 in C♯ minor, op.27/2 — Badura-Skoda (1969), Barenboim (1984), Backhaus (1958), Gulda (1967), Schnabel (1935), Pletnev (1988), Gilels (1980), Immerseel (1983), fortepiano), Brautigam (2003, fortepiano)

Beethoven: Variations in E♭ major, op.35, «Eroica»

Beethoven, “Eroica”-Variations op.35, Comparing recordings with the following artists: Artur Schnabel (1938), Glenn Gould (1970), Svjatoslav Richter (1970), Emil Gilels (1980), Konstantin Scherbakov (1984), Alfred Brendel (1985), Olli Mustonen (1993), Ronald Brautigam (2010)

Beethoven, Schubert (Diary 2012-07-28)

Beethoven: 6 Bagatelles, op.126 — Ashkenazy (1984), Brautigam (2010), Brendel (1964 & 1985), Gould (1974), Schnabel (1937); Beethoven: 24 Variations on the Arietta “Venni Amore” by Vincenzo Righini, WoO 65 — Pletnev (1997), Brautigam (2012); Schubert: Symphony in B minor, D.759 (“Unfinished”) / Symphony in C major, D.944 (“Great C major”) — Furtwängler (1952), Harnoncourt (1992), Dausgaard (2006)

Han-Na Chang & Finghin Collins — Wigmore Hall London, 2012-04-28

(…) stunned by Han-Na Chang’s performance of the Haydn C major concerto (…). That performance dates back some 7 years (2005) — but she had recorded both Haydn concertos already back in 1998, when she was 16; in that YouTube performance, it was amazing to see not only her enormous technical skills, but also her freedom of expression, and how much she has detached herself from technicalities, how much she is totally relaxed and appears to enjoy her own playing while visually communicating with the orchestra…

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