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Discussion: Mozart: Piano Concertos Vol. 2 - Brautigam, Willens

Posts: 13
Page: 1 2 next

Post by zeus August 1, 2011 (1 of 13)
The wood used for Brautigam's fortepiano maybe?

Post by Alan August 1, 2011 (2 of 13)
zeus said:

The wood used for Brautigam's fortepiano maybe?

At least from a representational standpoint. The program notes for the 9th and 12th concertos state that the cover photos for this series of albums will chronicle the building of a piano.

Post by hiredfox August 2, 2011 (3 of 13)
Alan said:

At least from a representational standpoint. The program notes for the 9th and 12th concertos state that the cover photos for this series of albums will chronicle the building of a piano.

How will they depict the sourcing of Ivory, one wonders? I can't imagine even Robert would care to be photographed astride an illegally dead elephant with a pair of dentist pincers...

Post by bissie August 3, 2011 (4 of 13)
hiredfox said:

How will they depict the sourcing of Ivory, one wonders? I can't imagine even Robert would care to be photographed astride an illegally dead elephant with a pair of dentist pincers...

Oh, foxy, you're at it again, even disguised as humour...

1) It is not "illegal" to be dead, but to be killed might be illegal.
2) There is no ivory on Paul McNulty forte-pianos, but even if there were,
3) "EVEN" Robert?

Robert

Post by Claude August 3, 2011 (5 of 13)
Is that Ronald Brautigam with the axe?

Post by bissie August 3, 2011 (6 of 13)
Claude said:

Is that Ronald Brautigam with the axe?

No. His chopping technique leaves something to be desired.

Robert

Post by hiredfox August 4, 2011 (7 of 13)
bissie said:

No. His chopping technique leaves something to be desired.

Robert

As opposed to his Chopin technique?

Post by Masolino November 5, 2011 (8 of 13)
Based on my very positive impression of the previous (9/12) recording from these musicians I purchased this new recording with confidence and must report that it is just as successful musically if acoustically a bit different (it is a different venue after all used for this recording). What I didn't realise until recently is a possible link between this Mozart concerto series and a much earlier one (of six concertos recorded in the 1980's) by Steven Lubin and company, which is also excellent and also recorded on a fortepiano. The conductor on the new BIS recordings, Michael Alexander Willens, may have been the same Michael Willens who participated in all three of Lubin's recordings decades ago as the bass player. Listening to the recordings side by side, I notice certain similarities in the overall sonorities and period instrument sound (same two violas and cellos but slightly fewer violins in the BIS). It is as if there was a continuity in between Lubin's pathbreaking but unfortunately incomplete project of Mozart fp concerti and the new Brautigam/Willens one.

Post by Adrian Cue December 20, 2011 (9 of 13)
Claude said:

Is that Ronald Brautigam with the axe?

It is not an axe (it won't work), it's a sledge hammer or similar, driving in the wedges to split the trunk.

Post by Adrian Cue December 20, 2011 (10 of 13)
I had not read David Hurwitz's comments http://www.classicstoday.com/review.asp?ReviewNum=13506 when I posted my previous remark about the AXE. Mr. Hurwitz did not look at it very well either. May be he was too busy with his review. He is, of course, entirely free to think and write as he does, just as readers are free to judge what he says. But as far as I am concerned, this is the least helpful way of reviewing. Vendetta seldom leads to good advice. As for his remarks about Ronald Brautigam’s Mozart, he may have missed his colleague’s (Jed Distler) review of the Complete Sonatas (10/10). He also missed the fact that Malcolm Bilson played on another copy of the same fortepiano. I remember his disgraceful remark about the late Richard Hickox (reviewing Elgar's second Symphony)'Who, I wonder, aside from Chandos, loves Hickox?'. Let's put this review where it belongs: on the mud belt.

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