> 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...
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,