Bortkiewicz, Prelude, Op. 33, No. 7 in F#

[rachfan]

I’m posting Sergei Bortkiewicz’s Prelude Op. 33, No. 7 in F#.  This prelude is from a set of 10 composed in 1926 and published by D. Rahter when Bortkiewicz was residing in Vienna.  It’s is an excellent example of his lush Neo-Romantic sound.  Although this piece is a prelude, I believe it could as easily be called a song without words.  The structure is A-B-A with the middle part providing contrast.  Throughout the piece there is a ravishing cantilena that takes on increasingly rich textures.  The piece ends with a lovely, quiet coda.  

I hope you'll enjoy hearing this piece, perhaps for the first time.  

The piano is my Baldwin Model L (6’ 3”).

Comments welcome.

(62 prior downloads on the original and second recordings, since deleted)

[daniloperusina]

Nice, lush, romantic performance!

[rachfan]

Hi danilo,

You're very kind!  I still have some things to work out in this piece.  But I'm glad you enjoyed listening to it.  Thanks!

[allchopin]

First of all, thanks for the new piece and well done.  I'll borrow daniloperusina's term and say that the piece is lush indeed, but more than that, delicate.  This being said, the A section (and thusly A' as well) seems too aggressive for Bortkiewicz.  Clearly the B has room for some improvements in smoothing and voicing, but I would also save more room for a climax by keeping the rest at a low dynamic.  Have fun with the piece,

-Allchopin

[rachfan]

Hi allchopin,

Yes, I'm working on a revised recording already.  My objectives do include toning down Part A at the beginning, smoothing out the LH in Part B (devilish to play), eliminating the pause between Parts A and B, and stating the Part A reprise more at mf to set up a better layering of dynamics thereafter.  I also need to re-pace the opening two-measure introduction so that it will better blend tempo-wise with what follows.  This is not an easy piece to play, although not nearly as difficult as his Impromptu "Eros" that I recorded earlier (over on page 4 of Audition Room now).  I hope to have my improved performance of this prelude posted in the near future.  Thanks for your input!

[thracozaag]

Great start--already sounds quite nice.  Hopefully we can continue to spread the gospel for Sergei B! 

koji

[rachfan]

Hi koji,

Thanks for your encouragement!  Where Bortkiewicz is a late Romantic, my interpretive approach is to play his music in "the grand manner"; but in doing so, that approach must always be scaled in proportion to the size and character of the particular piece at hand.  I believe it can work well for this prelude, but I just need to fine tune it more.  I love playing No. 7 though!  Prelude No. 8 is next up on my schedule.  I can't tell you what a pleasure it is to share what must seem like "new" music to many listeners here.  Bortkiewicz deserves far more attention than that received in the past.   

[totallyclassics]

WOW!      I have to say, I have NEVER heard of Bortkiewicz, nor any of his music!
So many colors, and contrasts!   I really enjoyed listening!    I have to be honest, my ears are not as developed as your artistic hands!   My favorite parts, were 1:02 to about 1:20, and 2:30, to  the end of the piece!   My underdevloped ears  could hear all the notes!   Those areas in the piece were beautiful, gracefuly, free flowing and sweetly melodic.   The other parts..........very interesting to my ears, totally new sounds, many more colors and contrasts!    I am looking forward to hearing more............to develop my listening skills!    I can definitely see an importance for starting with the basics of Bach two part inventions!!   Only 2 voices in Bach.............Lots more to keep up with in this piece!  AMAZING!!!

Thanks so much for sharing with us!

[rachfan]

Hi totally,

I'm glad you enjoyed hearing this prelude so much!  Thanks for listening.  Actually, you CAN hear another Bortkiewicz piece I posted earlier--his Impromptu, Op. 24, No. 3, "Eros" posted on page 4 of this forum.  It's a much bigger and more challenging piece.  Here's a quick link for you.

https://www.pianostreet.com/smf/index.php/topic,26641.0.html

[totallyclassics]

Thanks so much Rachfan,   I just woke up, am getting ready for work, but I will listen to it as soon as I get home.   I come home early Sunday/Mondays......5am instead of 7am!  I just went to the site you gave and read a bit about this composer.........quite impressive and interesting!     I can't wait to listen to you play this other piece.   

Have you posted any Rachmaninoff Preludes?    My absolute FAVORITE is  23 no 5!
Just wondering.   There is another adult student that performed this piece for the same recital I played in and he played that piece!  It was actually the first time I had heard that one too!     My daughter, age 13, was in the audience and it caught her attention too!    My dream would be to ONE Day play that piece!!    Very big and powerful piece!

thanks.........will listen to your link first thing in am, and comment!

totally

[rachfan]

Hi totally,

I hope you enjoy listening to Bortkiewicz's "Eros" tomorrow morning.

Yes, to respond to your question, I have recorded and posted many Rachmaninoff Preludes here.  Back on the main page of Audition Room, you'll see a string of gold page numbers appearing both at the top and bottom of that page.  You just click on those to navigate out to the previous pages of this forum and to hear recordings there.  To assist, I just went out there to "round them up" for you.  Here they are:

Page 5:  Op. 32, No. 1 in C and Op. 23, No. 10 in G flat
Page 6:  Op. 32, No. 7 in F and Op. 23, No. 6 in E flat
Page 11: Op. 32, No. 9 in A
Page 12: Op. 32, No. 5 in G
Page 13: Op. 32, No. 10 in B flat
Page 17: Op. 23, No. 4 in D and Op. 23, No. 1 in F#

If you like the powerful ones, first listen to Op. 32, No. 1 in C; Op. 32, No. 9 in A; and the big Op. 32, No. 10 in B flat!

Other than those nine above, yes, I did record Op. 23, No. 5 in Gm, but chose not to post it here.  I was never quite satisfied with that recording.  I believe you can, quite honestly, find some better performances by other pianists here.  Usually, I like to play lesser known pieces.  Both Rachmaninoff's Prelude, Op. 3, No. 2 (the famous C#m) and the Op. 23, No. 5 in Gm, unfortunately, tend to be very much overplayed.  By the way, I do realize you've just discovered the Gm, so it's new to you--I envy you! 

By the way, I also posted two of Rachmaninoff's own piano transcriptions of two of his songs:

Page 6: Lilacs, Op. 21, No. 5 and Daisies, Op. 38, No. 3, both of which I think you'd like.
 

[totallyclassics]

Hello Rachfan!

I just walked in, and have to get the kids to school..........yes I know it's a holiday for most, not mine!    My kids are homeschooled and are taking advanced courses , (that I don't teach!) from another school for homeschoolers......They aren't on vacation today!)
This is  actually the reason I leave early from the hospital on Monday mornings after my work Sunday night)

I will definitely listen as many pieces as I can, AS SOON AS I get back home this morning!  .........I think I have a FULL day or 2 of listening to do........I am SO excited!     

I looked on you tube for some video recordings of the Rachmaninoff   Prelude in Gm Op 23 No. 5.    I found one that I like that is not played too fast!   Do you know, is this piece pretty much octave oriented?  No 9th's or 10ths?     I have a small hand, and can barely span an octave!  I manage, but my hand gets tired easily.   I can play Moonlight Sonata and a bit of  Chopin Nocturne  in Bm Op 9  No. 1.  Those both have octaves!     I just want to know if I will one day be able to play this Rach prelude!    I hope...I hope..I hope!!!

Anyway, thanks for the links!   Can't wait to listen! 

[rachfan]

Hi totally,

Having recorded Op. 23, No. 5 in Gm, I do know the piece inside out.  Including the lyrical middle part, there are octaves and, more often, octave chords appearing in both hands throughout in nearly every measure.  They also require various touches--nonlegato, staccato, legato, tenuto, forzando, sforzato and leggiero (no portato though).  Because of that, the issue is not just playing the chords per se, like vertical skyscrapers, but rather it often lies in the horizonal voicing of the melodic line in the tops of the octaves and chords of the RH, which is far more difficult and demanding.  To make matters worse, there are sometimes inner lines within the structure of successive chords that are far more difficult and exacting to voice.  Pedaling too has its quirks, as there are often three-note slurs where the middle note must not be caught in the pedal.  In general, I would tell you that this prelude is a very "athletic" piece requiring stamina and endurance.  It's played with the body, shoulders, forearms and wrists (oh, yeah, sometimes even the fingers too).  Having smaller hands would make it that much more fatiguing, especially as you mention that yours tire easily. 

Rachmaninoff had three roles in life--conductor, composer and concert pianist.  In our day probably Bernstein would be a close approximation, although their emphases were different.  Rachmaninoff put conducting (at which he was absolutely superb) behind him earlier in life, whereas Bernstein spent most of his time conducting.  Rachmaninoff composed a great deal more than Bernstein.  And although Bernstein was a very fine pianist (Gershwin's Rhapsody in Blue, and Mozart Piano Concerti), he played relatively little, while Rachmaninoff early on made touring as a performing artist his livelihood right up until he died in 1943.  His composing output diminished as he grew older, because of the time commitments for practicing and recitalizing on the tours. 

Anyway, this is fact: Rachmaninoff (with his enormous hands), unlike say Mendelssohn or Chopin, didn't write his piano solo works for you, me or other pianists.  When he would recitalize, he largely played his own piano works.  So these pieces were the tools of his trade, thus he really wrote all of that music for himself.  And where he was one of the greatest virtuosos ever, that makes playing his music all the more challenging for us.

None of this is to discourage you.    The Gm is graded "difficult", but when the time comes, try the piece out.  If it's too daunting, and if your interest will be to entertain yourself rather than playing it in public, then there are ways to "simplify" the piece to better suit a person with small hands.  It would be a big compromise, of course, and would not comport with the composer's intention.  My observation over the years has been that pianists who are "purists" with smaller hands either avoid Rachmaninoff altogether, or carefully select his pieces that literally fall within their grasp--and there are some of those too, fortunately, in his repertoire.  However, another thing I've discovered is that if I really love a piece, I'll take it on no matter what!!  Sheer motivation can accomplish great things!

Enjoy your upcoming listening sessions!

[instromp]

Hi RachFan,

Been a long time admire of your playing and you introduced this [new] composer to me,since I have never heard of him.

The first seconds of this piece gives me an image of an opera singer onstage singing it with great emotion, and then as it goes on, it develops into something strong,grand,depth and aesthetic. For me, i like your first recording of it, it has this energy about it that you put into that i tend to like more. More of this composer pls, you've opened my ears to something new  .

[rachfan]

Hi instromp,

Thanks so much for listening and commenting!  I appreciate all that!

I was quite interested in your observation that you actually liked the original recording more than the second.  The fact is, in a way I do too!  The original is hyper-romantic and admittedly has a few flaws, whereas the second is more accurate, but overall more restrained too.  In that second recording I got the tempo up in the intro to better match what your opera singer would do thereafter.  (I've accompanied sopranos before, and could hear one of them singing the cantilena in my head, and let that guide my playing.)  I also eliminated the pause between Part A and B to make the continuity more taut there.  The LH part in Part B has not yet fully yielded to me, so I know I need to continue struggling with that.  At the reprise of Part A, I took the dynamic down to mf to better layer the dynamics to follow, and to allow for a more noticeable ff just before the long coda.  These things were all the right things to do.  But you know what?  I still prefer the excitement and energy (yeah, and maybe some of the fresh brashness) of that original recording.  That's what's missing in the second.  I think that's why I was reluctant to delete the original, so left it be. 

I guess the challenge for me will be to come up with another rendition that is accurate, but allows me to put my own interpretive stamp on it as well within reason.  I try to be sensitive to critiques here, but maybe went too far on adjusting the dynamics in particular, ending up with a conservative performance.

I'm already planning to do another Bortkiewicz prelude.  If you want to hear another Bortkiewicz piece in the meantime, have you listened yet to my recording of his Impromtu, Op. 24, No. 3, "Eros"?  If not, here is the link for you below:

www.pianostreet.com/smf/index.php/topic,26641.0.html

[instromp]

Hello again Rachfan

Well Rach, it's not like i could notice the flaws that you said since i do not know the piece . BUT, maybe thats what actually makes me like the piece even better, because like in your first recording it was not [conservative] as you said. Making it "hyper-romantic" (stole your phrase) you gave it that energy rather than it being more reserved and to what the score says.
To me, taking a piece and changing ( more like preference than change) to where it convey to the audience what type of pianist you are, makes them take notice of like your personality, bleh I could say this better than type it. I guess an Example would be that the first one sounds "fresh"  and "young" and the second sounds more straightforward. Still though, I like it with the flaws =].

Wow, this impromptu sounds very difficult, it has a very bold sound that I like and that energy! I cant really comment on it since i dont know much about it. But it reminds of rachmaninoff in places.

[rachfan]

Hi instromp,

I agree with you.  Once a pianist has shown respect for the score, it's ok for personality to show through the music, which individualizes the interpretation.  The role of the pianist is not to just recreate the work, but rather to co-create it with the composer.  It's part of "putting a piece over" to an audience really.  I'm going to try for another version that incorporates the corrections I made, but which also recaptures the exuberance and ecstacy as well.   

Yes, the Impromptu "Eros" is a difficult piece.  But when I first heard it, I couldn't resist learning it.  Sometimes inspiration and motivation can overcome not having a big piano technique, as was the case here.  Also, the more you listen to this piece, the more you'll like it.  It never wears thin. 

I discovered after recording "Eros" that my microphone configuration was wrong--a dumb mistake on my part.  The two electric condenser mics close to the piano should have been cartioid mics and the one further back in the room (for ambiance) should have been the omni-directional mic.  I guess without my reading glasses on, I misread the symbols on the mic capsules and had one cartioid and the omni-directional up front and the other cartioid behind them.  Oh well... the sound is still pretty good considering.  Once again, this proves the difficulty of being pianist, recording engineer and page turner all in one.   

[instromp]

I agree with you. Once a pianist has shown respect for the score, it's ok for personality to show through the music, which individualizes the interpretation. The role of the pianist is not to just recreate the work, but rather to co-create it with the composer. It's part of "putting a piece over" to an audience really. I'm going to try for another version that incorporates the corrections I made, but which also recaptures the exuberance and ecstacy as well.

Yes, the Impromptu "Eros" is a difficult piece. But when I first heard it, I couldn't resist learning it. Sometimes inspiration and motivation can overcome not having a big piano technique, as was the case here. Also, the more you listen to this piece, the more you'll like it. It never wears thin.

I discovered after recording "Eros" that my microphone configuration was wrong--a dumb mistake on my part. The two electric condenser mics close to the piano should have been cartioid mics and the one further back in the room (for ambiance) should have been the omni-directional mic. I guess without my reading glasses on, I misread the symbols on the mic capsules and had one cartioid and the omni-directional up front and the other cartioid behind them. Oh well... the sound is still pretty good considering. Once again, this proves the difficulty of being pianist, recording engineer and page turner all in one.

Yes, that's exactly what i was trying to say =D.

Well after listening to that prelude many times, i have a want to learn it now as you say about [Eros], but i am not to that level so i dont want to hackney the piece at all.

U managed to still capture Eros anyway eventhough your intial setup may have been incorrect 

Do you plan on recording Eros again?

[rachfan]

Hmmmm.... recording "Eros" again.  Well, I actually did four recordings to get up to the one posted in this forum (#4).  Performing that athletic piece is draining!  Because the piece is so demanding, I wanted to get away from it for awhile, which also gave me the opportunity to prepare this Prelude No. 7.  I'm about to move on to another of Bortkiewicz's preludes in the near future as well.  "Eros" though is a keeper in my repertoire, so at some point I'd definitely want to revive it.  Plus, having left it in hibernation for awhile, some things that had seemed difficult at the time would later seem easier later on.  So if I do bring it back, yeah, I'd probably re-record it while the opportunity presented itself.  I'm glad you liked it!

[totallyclassics]

Thanks so much for posting the link to your other Bortkiewicz piece!
I truly enjoyed that piece as well.........VERY powerful and yet as you said very lyrical and romantic as well!  My kind of piece!   

You played it very well..........although I've nothing to compare it too!  I just really liked the piece!!

Thanks!  I'm going to continue to look up the other pieces you posted for me to search for!

Thanks again,

totally classics

[rachfan]

Hi totally,

You're welcome.  I'm glad you enjoyed hearing "Eros". 

[thalberg]

Hi Rachfan,

This was my first time hearing Bortkiewicz.  I was sort of putting it off because I didn't think I'd like it--but I LOVE IT!!  It's absolutely gorgeous music.  1926 was such a cool year--Bartok wrote his Sonata that year, and I think also his Out of Doors Suite.  It seems so amazing these two types of music could be written the same year.

Your playing is excellent.  Your melodic line has that wonderful elasticity and warmth the piece needs, and your phrasing and rubato is right on.  Bravo! Great playing of beautiful music.  I'd like to hear more of Bortkiewicz.  I may suggest him to some of my pianist friends.

[rachfan]

Hi thalberg,

Thanks for taking a moment to hear this prelude.  I really appreciate your compliments!  Isn't it beautiful piece?  Every time I look into Bortkiewicz's music, I'm astounded.  You might want to listen once again, as I just deleted the earlier recordings and replaced them with a new one.  It's hard to produce a "perfect" rendition, but this one is definitely a step up over the previous two in my opinion.  I believe that the reason that Bartok and Bortkiewicz were so different was that Bortkiewicz was much like Rachmaninoff--he was untouched by Modernism. 

If you'd like to hear another Bortkiewicz piece I posted earlier, his Impromptu, Op. 24, No. 3, "Eros", here's the link:

https://www.pianostreet.com/smf/index.php/topic,26641.0.html

I think you'll be equally amazed by this incredible work.  Yes, if you could recommend this  late romantic composer to students and friends, it would help greatly in reviving extraordinary music that hasn't been played in over 60 years.  We've all been short-changed by not hearing this wonderful repertoire long before now.

[dmc]

Hi Rach -

Wow this is great & your playing is wonderful !  I searched iTunes on Bortkiewicz and he isn't very well represented which is a shame.   Maybe I'll check Amazon.  Are you aware of anyone who has recorded him (other than yourself  ) ?

BTW, I also left a comment & question on your Gershwin Prelude.  That was excellent too.  Bravo !

Dave

[rachfan]

Hi dmc,

Because Bortkiewicz's piano music was lost in a time warp for six decades, there are very few recordings available.  But here are some suggestions.  First, if you go to YouTube and enter Bortkiewicz in the search, you'll find Koji Attwood playing the Etudes (you must hear those!) as well as the Ballade.  He's a superb artist who inspired me to play Bortkiewicz's music.  And I continue to delve into it.  I have another Bortkiewicz posting here in the Audition Room that I think you'll like, the Impromptu, Op. 24, No. 3, "Eros".  If you're interested, have a listen.  Here is the link for you in PianoStreet:

www.pianostreet.com/smf/index.php/topic,26641.0.html

There are very very few commercial CDs.  I do not own them, so cannot comment on them.  Cyprien Katsaris and Stephen Coombs in particular are two pianists who have recorded some of Bortkiewicz's very extensive body of piano works.  One interesting thing I found in working up just the two pieces posted here is that the performance practices have been long lost.  (Bortkiewicz died in 1952 and his pieces soon disappeared from recital programs.)  Therefore, no matter who the pianist is, he has had to develop interpretations on his own from scratch, the same as I did.  So don't be surprised if you compare the same piece played by two pianists and the renditions are quite different.  It certainly keeps it all very interesting!

Happy hunting! 



 

[mkaykov]

hello Rachfan,

thank you for telling me about your recording, this is quite an interesting piece. There are some inventive harmonies, and it is very elegant. I haven't listened to another performance of this piece, but I admire yours very much.

I will definitely give your mic placement technique a try. 

[rachfan]

Hi,

Yes, this No. 7 is one of a kind!  I love the piece.  Thanks for the nice compliment.   This was a close-in recording though, which is not the best method.

For the comparison using proper A-B recording technique, have a listen to Bortkiewicz's Prelude No. 8 right here on Page 1.  You'll be amazed how the sound is more melded and takes on depth and ambiance, all without mechanical sounds from the piano action.  This is definitely the way to go!

[cherub_rocker1979]

I posted a couple of Bortkiewicz pieces here as well:

https://www.pianostreet.com/smf/index.php/topic,28632.0.html

https://www.pianostreet.com/smf/index.php/topic,28532.0.html