It's creates an amazing feeling of travelling back in time to realise that this is a recording of someone who took part in a concert with Mozart's son Franz Xaver in 1841!
nickcy27 Very special "piano-roll" bigotry is about the last type that can be practiced with true, titillated glee by those that do. Theirs are a species-apart that enjoy spreading their particular hate to others, this by uninformed, nonsensical pronouncements. This could answer for why, as think you imply, not more are listening here, ones sans prejudice and with understanding and appreciation. This particular record-roll (as they were termed back-in-the-day when produced) holds much that is to inform and uplift, as the majority of those commenting here indicate. Oh! How I imagine that the fact of it galls-well our special bigots. In it's contemplation, it affords me such pleasure. Hope that helps some. . : .
I and several of my contemporaries were very fortunate to have studied with Edwine Behre, herself a Leschitizky student. One of my fond memories was of her playing this piece in Vermont during a summer session at her school in Adamant. There was a drama and type of artistry that can only take place in a world of the past where time was expansive and uninterrupted by iEverything. This is a real find for me. Thank You.
@Michael Preddy That is very interesting information and commentary. Since our dear gullivior did not see his way clear to provide some key information that is important, I shall. The origin of this recording was as follows: Welte-Mignon Record-roll, recorded February 18, 1906, The Popper Studio, Leipzig, Germany. Of course we've no idea as to who's Welte-Mignon instrument it was nor how large, where it was located or anything else along this line. The Welte-Mignon catalog contains thousands of record-rolls recorded beginning in 1904 in Germany, plus American generated titles too, these beginning in 1912, I believe it was, continuing up to 1920. The potential for perfecting the play of the playback apparatus for the Welte-Mignon is limitless. Any little hesitations, shaded trills or whatnot, are but artifacts of the mechanical devices. This performance communicated musically, as is obvious from all the delighted, positive comments posted. Hope that fills-in some information for you missing otherwise without. . : .
Leschetizky has been student of Czerny and played several Mozart'sthe piano concertos under the guide and the conjuction of Franz Xaver Mozart, Mozart's son. I think it's time that the entire world's reconsider his artificially made concept of "historically informed performance".
@@LachlanTyrrell2003 My frustration with the sound quality drove me to write that facetious remark. I do think that the level of artistry on display here is not apparent today but I listen to many living musicians. I'd love to be able to hear Furtwangler record a Beethoven symphony with today's recording technology.
@gullivior Why not inform we, your listeners/commenters, accurately and completely, and afford unto us some bit of respect, and too, a bit less contempt-by-omission for the music's what, detested SOURCE? If not the case-actual (in which case I would owe you a red-faced apology), then it surely IS the impression you impart, by this and other hints. We DO notice. :) . : .
Sorry, I don't understand. The name of the pianist, the author, the title of the work, the year of recording, the type of recording. What other information should I put? Dear sir, maybe you don't think before writing.
Bitte daran denken, dass wir heute den Klang höchstwahrscheinlich nicht so hören, wie der Künstler es seinerzeit gespielt hat. Das liegt daran, dass Klaviere sich permanent ändern. Wenn dann 115 Jahre dazwischen liegen wie in diesem Falle, muss man davon ausgehen, dass wahrscheinlich sehr viele Details anders erklingen. Wahrscheinlich hat das Instrument mittlerweile neue Hammerkopffilze bekommen oder wurde zumindest neu intoniert und reagiert folglich anders als zum Zeitpunkt der Einspielung. Ebenso verändern sich unweigerlich Regulierung, Dämpfer, Stimmung und vieles mehr, sodass wir nur einen sehr ungefähren Eindruck von dem bekommen, was der Pianist gespielt hat. Die Stimmung ist auch etwa einen Viertelton zu hoch, wenn man von 442 ausgeht. Damals waren noch tiefere Stimmungen üblich. Ich vermute, dass in diesem Falle eine Schallplatte zu schnell gelaufen ist, wir folglich auch einen falschen Eindruck von den Tempi gewinnen. Solche Aufnahmen kann man als Inspiration nehmen, aber es funktioniert wohl nur, wenn man seine Fantasie benutzt, um sich auszumalen, was der Pianist gemeint haben könnte. Für mich ist dies jedenfalls eine unendlich wertvolle Quelle.
