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General Category => Gustav Mahler and Related Discussions => Topic started by: Constantin on November 23, 2016, 09:04:45 PM
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The GMB did it !
Perhaps some of you may remember the postings, several years ago of John Haueisen or Constantin, and Stürmisch Bewegt or Sturmisch Bewegt.
We became friends, and two weeks ago, Sturmisch Bewegt flew from France to Ohio to perform on a historic piano recently restored.
We collaborated on a program, with John reading from Jean Paul’s “die Flegeljahre” and Sturmisch Bewegt playing selected works by Schumann, Mendelssohn, Weber and Schubert.
Mahler was fond of Jean Paul’s novels. Bruno Walter reported that he particularly enjoyed the funny “reading of the will” scene in die Flegeljahre.
And now, after the concerts, we have time to listen to a bit of Mahler again.
So, what a wonderful adventure happened, which would never have occurred without the GMB !
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The GMB did it !
Perhaps some of you may remember the postings, several years ago of John Haueisen or Constantin, and Stürmisch Bewegt or Sturmisch Bewegt.
We became friends, and two weeks ago, Sturmisch Bewegt flew from France to Ohio to perform on a historic piano recently restored.
We collaborated on a program, with John reading from Jean Paul’s “die Flegeljahre” and Sturmisch Bewegt playing selected works by Schumann, Mendelssohn, Weber and Schubert.
Mahler was fond of Jean Paul’s novels. Bruno Walter reported that he particularly enjoyed the funny “reading of the will” scene in die Flegeljahre.
And now, after the concerts, we have time to listen to a bit of Mahler again.
So, what a wonderful adventure happened, which would never have occurred without the GMB !
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This is very cool, thanks for reporting it. Mahler's sources of humor are too seldom studied in the parade of endless biographies that put so much emphasis on the Mahler/Alma business. I'd like to hear a bit about the restored piano.
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The chapter in question from die Flegeljahre (Walt and Vult or The Twins, in English) is the first chapter “the will.” Especially fun is the scene in which the first of the presumed heirs to be able to cry over the deceased will receive a reward.
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The piano is a Tröndlin, 6 octaves, built in about 1825 (Johnann Nepomuk Tröndlin, 1790-1862). Tröndlin pianos were praised by Mendelssohn and the Schumanns. Schumann’s piano concerto was premiered in the Leipzig Gewandhaus by Clara, under the baton of Mendelssohn.
We performed privately for the donors who supported the restoration, achieved by the Worthington Historical Society. There will be a PBS program about the restoration with pieces performed, in late December or January. We’ll give the link later.
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The chapter in question from die Flegeljahre (Walt and Vult or The Twins, in English) is the first chapter “the will.” Especially fun is the scene in which the first of the presumed heirs to be able to cry over the deceased will receive a reward.
https://babel.hathitrust.org/cgi/pt?id=nyp.33433075735229;view=1up;seq=9 (https://babel.hathitrust.org/cgi/pt?id=nyp.33433075735229;view=1up;seq=9)
The piano is a Tröndlin, 6 octaves, built in about 1825 (Johnann Nepomuk Tröndlin, 1790-1862). Tröndlin pianos were praised by Mendelssohn and the Schumanns. Schumann’s piano concerto was premiered in the Leipzig Gewandhaus by Clara, under the baton of Mendelssohn.
We performed privately for the donors who supported the restoration, achieved by the Worthington Historical Society. There will be a PBS program about the restoration with pieces performed, in late December or January. We’ll give the link later.
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This is real exciting to hear! I consider John Haueisen a good friend and always appreciated his kindness and discussion here and in private messages. Aces!
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Here is the link to the program about the restoration of the piano.
http://www.pbs.org/video/2365918602/ (http://www.pbs.org/video/2365918602/)
The piece I play is from Schumann's Papillons (composed in 1829-31).
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Very interesting. I never learned to play piano well because I've NEVER liked the sound of the modern piano (I'm no Steinway fan). Yet, I can't claim that I've ever known much about 'historical' instruments. But these earlier pianos make sense in terms of what the composers actually composed upon them. The sort of private, 'salon' like nature of much piano literature fits better upon an instrument such as this one - especially in relation to the better known 'public' side of these same composers (symphonies, concertos, operas, etc.). I think what sounds best on the modern piano is jazz, with its many harmonic extensions (7th, 9th, 11th, 13th chords, etc.). Hence, I don't get real interested in classical piano repertoire until we reach Debussy, Ravel and Scriabin (who I think is underrated). Later Liszt fascinates me a bit. I like Liszt's many transcriptions too.
I'm wondering if this new 'hybrid' piano that Barenboim had built is of interest (?). Few people are fans of his piano skills these days, but I very much like the sound of his instrument. It seems to get a fairly wide dynamic as well.
http://www.prestoclassical.co.uk/r/DG/4796724
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Very interesting. I never learned to play piano well because I've NEVER liked the sound of the modern piano (I'm no Steinway fan). Yet, I can't claim that I've ever known much about 'historical' instruments. But these earlier pianos make sense in terms of what the composers actually composed upon them. The sort of private, 'salon' like nature of much piano literature fits better upon an instrument such as this one - especially in relation to the better known 'public' side of these same composers (symphonies, concertos, operas, etc.). I think what sounds best on the modern piano is jazz, with its many harmonic extensions (7th, 9th, 11th, 13th chords, etc.). Hence, I don't get real interested in classical piano repertoire until we reach Debussy, Ravel and Scriabin (who I think is underrated). Later Liszt fascinates me a bit. I like Liszt's many transcriptions too.
I'm wondering if this new 'hybrid' piano that Barenboim had built is of interest (?). Few people are fans of his piano skills these days, but I very much like the sound of his instrument. It seems to get a fairly wide dynamic as well.
http://www.prestoclassical.co.uk/r/DG/4796724
If you enjoy the salon aspect of the piano you should check out Charles Valentine Alkan; it's some crazy stuff. Maybe try some Mozart or Beethoven on fortepiano, I find it to be much more enjoyable than listening to a modern piano. Ronald Brautigam has always worked well for me. He's recorded a lot of the classical rep on period instruments.
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Ronald Brautigam has always worked well for me. He's recorded a lot of the classical rep on period instruments.
Brautigam's Beethoven on the fortepiano has been a revelation to me. I wish his Haydn and Mozart had been recorded in the same manner; both of those sets were too distantly miked in my opinion, giving the impression of cathedrals rather than salons.
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Ronald Brautigam has always worked well for me. He's recorded a lot of the classical rep on period instruments.
Brautigam's Beethoven on the fortepiano has been a revelation to me. I wish his Haydn and Mozart had been recorded in the same manner; both of those sets were too distantly miked in my opinion, giving the impression of cathedrals rather than salons.
I will have to take a listen to the Mozart set, it's been a while. Concerto's or Sonatas? Before Brautigam, Paul Badura Skoda was my go to. He was the first to record Beethoven on the fortepiano, I think.
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Sonatas in all cases; I should have specified. I haven't heard any of his concerto recordings.
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Hi everyone,
In addition, this short video to hear more of the Tröndlin piano.
https://www.youtube.com/watch?v=VBeOOZljCNU (https://www.youtube.com/watch?v=VBeOOZljCNU)