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 Post subject: Scriabin and Prokofiev
PostPosted: Wed Mar 21, 2007 9:46 pm 
Here are some other recordings of mine:

4 Scriabin's short pieces of his early period (in the impromptus he seems to study the sistematic
and written anticipation of the bass).
The 2 impromptus are among the legendary Sofronitzki's recordings of his father-in-law compositions,
and this is a modest and personal tribute to them.
There is also a Prokofiev piece from his own piano transcription of the suite "Romeo and Juliet".
It's a sad scene, where human hate and adverse fate get the upper hand: "Romeo and Juliet
before parting".

Prokofiev - Op.75 no.10, Romeo and Juliet just before parting
Scriabin - Op.11 no.15, Prelude in D-flat major
Scriabin - Op.11 no.24, Prelude in D minor
Scriabin - Op.12 no.2, Impromptu in B-flat minor
Scriabin - Op.14 no.2, Impromptu in F-sharp minor

Thank you,
Sandro "Sarrasani" Bisotti


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 Post subject:
PostPosted: Thu Mar 22, 2007 7:08 am 
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Ah wonderful! This is even better than your Beethoven and Chopin recordings. Not in technical performance but in interpretation. Just by incident, I put the Prokofiev first and the Op.12 impromptu after each other and could not help notice that they begin with the same two keys (even though it differs a bit in the chords) :).

I particularly enjoyed your Scriabin recordings which catches the mood and the myth of this very special man who lived a difficult life and struggled his way through it. You must have been studying these pieces carefully and planned your interpretations very well. Congratulations!

The recordings are up in the site.

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 Post subject:
PostPosted: Thu Mar 22, 2007 9:55 am 
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I have not heard the Scriabin's yet but I can comment on the Prokofiev which I know quite well.
Again I admire your insight and individual way of performing. The tone and touch are beautiful and technically there is nothing you cannot handle.

But what bothers me in this performance that the hands are almost never synchronized. There are whole streches where it sounds as if LH and RH are out of phase by half a note or so. Not sure if this is just the old style of left-before-right playing (or is that right-before-left, I'm not sure) but it seems to me too much of a good thing. The arpeggios sound a bit unusual in places, and I think you play some arpeggios where they are not written (though I could be wrong, have not got the score at had right now). You could be more careful with the sustaining pedal, there are some rather murky blurs like I noticed at 1:36, 4:52, 5:00 and 5:48. If that is intentional, forgot I said it !
At 1:34 I seem to hear some wrongly read notes but I'll need to check - perhaps I always played it wrong. Lastly, the great romantic recapitulation seems to be lacking in sweep and passion, it sounds a bit laboured. The code is beautifully done.

All in all, a good performance of this piece which is far more difficult than it sounds. Any objections I made are probably just personal taste and one can't argue about that.

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 Post subject:
PostPosted: Thu Mar 22, 2007 5:01 pm 
[quote="techneut"]
> Again I admire your insight and individual way of performing. The tone and touch are beautiful and technically there is nothing you cannot handle.

Thank you.

> But what bothers me...

Yhank you in the same measure.

> in this performance that the hands are almost never synchronized.

I agree at 80-90% with you. There are in my opinion 3 problems :
1) the delays in chords or in singing part vs bass.... I often love them when i'm playing or
when I'm hearing recording (of mine or others') for the first/second time. With subsequent
listenings, these delays tend to become troublesome. I actually tend to use less delays
than in this recording.
2)There is also the fact that Prokofiev is not Scriabin (where IMHO the problem
is when the delays NOT appear), he was a false romantic, with a solid, often rigin phrasing
construction. I've "pardoned" myself and I've send only for this particular piece, knowing to
have played it with a sort of back-dating. I'll send other pieces of the suite (I've yet recorded)
only when I'll play them with less delay, here I repeat out of style.
3) I have little hands, and this is a disaster : one love too much these delays, in
addition he is often forced to play so.......bad affair

>the old style of left-before-right playing (or is that right-before-left, I'm not sure)

The anticipation of right (singing note) was used by Busoni and many pupils.
Today in some Kissin moments we find this. The more common opposite (the anticipation
of bass or the retard of the singing note) was the rule until the '20-'30.
The subsequent rationalism and industry-style pianism abolished this.
I find that the delay is an important rhetoric skill one pianist must have and use .
When? For sure very less than in this Prokofiev. There will be a measure between
Cortot and Gulda, Paderewski and Pollini, on a higher level Bisotti and Breemer :) :)
Let's find it, if we will and if we are able to.



> At 1:34 I seem to hear some wrongly read notes but I'll need to check

Here and in other moments. But I have preferred here a "light" or no editing.



> - perhaps I always played it wrong. Lastly, the great romantic recapitulation seems to be lacking in sweep and passion, it sounds a bit laboured.

I'm testing the way to render the correct mood in these moments, in the sense to play more
slow and with a harder sound than usual. Experiments often fails......


Thank you for all your considerations,
Sandro Bisotti.


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 Post subject:
PostPosted: Fri Mar 23, 2007 9:18 am 
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I listened to the Scriabin's as well. Masterfully played, and I can not find anything to niggle about except that sometimes you leave the pedal down far too long and create an ugly harmonic blur. Of course Scriabin should never sound dry, but some care should be taken here and there.

The right-before-left is also prominent here though, as you say, this suits the nervous music of Scriabin better than the more exact and neoclassical Prokofiev. I did not know the Impromptus so I can not decide how much influence this has - it sounded a bit disjointed at times but could be that is how it's written). In the Preludes, a set which I dearly love, you do it very idiomatically and discreetly. Great job on these nast LH octaves here. A shame though, how you cut off the closing chord of the last prelude instead of letting it ring out properly. Is that not possible on a digital ? I guess here is such a moment when one longs for a 'real' piano sound.

But really, nothing but praise for these :D

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Chris Breemer


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 Post subject:
PostPosted: Fri Mar 23, 2007 10:35 am 
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My admiration was based on the Scriabin pieces which are executed beautifully with, according to my view, very little extra to wish for. My experience with the Prokofiev piano transcription is zero when it comes to playing it and 1 when it comes to listening so I rest my case there.

But I am very happy you recorded the much neglected Scriabin impromptus!

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