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Post by Steve Hopwood on Jan 1, 2007 12:43:43 GMT
Have just had a listen to Biret's rendition of the E minor Prelude, and again the rubato is so pronounced the piece sounds hesitant - almost at the start of every bar I feel like I'm waiting too long to hear the first note - bizarre! Have also just listened to Rubenstein playing a Nocturne. There is definite rubato, yet the piece flows - there's constant movement, rather than the hiccups I keep hearing elsewhere! Lovely! I have just listened to my cd of Ashkenazy playing these pieces. There are no awkward mannerisms, so the music flows seamlessly. Ashkenazy utilises the rubato that lies naturally within the music with the understanding of a truly great player. There is the very occasional splitting of the hands, always at points where it works as a result of what Ashkenazy had done in the lead up to it. Listening to it does not have me down on the floor eating the carpet. Good thing really; carpets are expensive. ;D
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Post by petite joueuse on Jan 1, 2007 12:45:39 GMT
I've not heard Ashkenazy on Chopin yet, but I do have his version of the Shosta Preludes and Fugues, and he plays them beautifully, if rather "romantically"!
I think the flow or movement (forward movement, not necessarily in a relentless way, but definitely moving) is what we're trying to get even if rubato alters the speed.
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Post by princessmoose on Jan 2, 2007 16:54:52 GMT
I've just listened to the same piece that I mentioned in the first post by Rubinstein and Friedmann, I think out of those two and Biret, I prefer Rubinstein's version.
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Post by schubertiad on Jan 6, 2007 17:37:44 GMT
I've got another rubato-related question: How would your normal use of rubato differ from a written instruction of rubato by the composer (e.g. mazurka op.67 no.4)? More than usual, or just the same?
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Post by Dulciana on Jan 20, 2007 12:50:52 GMT
Reply to above - no idea! I'd just go with good taste - assuming that I have such a thing! I've just tucked into a Mendellsohn Song Without Words - Book II, Opus 30, no.1 - and it struck me that I have absolutly no inclination in this to bring in the LH bass note of the broken chords before the RH. (Just following on from the discussion about Steve chewing the carpet!)
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