Bortkiewicz Prelude op.33 no.8 in Db Major

[counterpoint]

Inspired by the two recent recordings of Bortkiewicz Preludes, I'm also learning them now 

Here is my try on No.8

[rachfan]

Hey counterpoint,

Nice work!  You play No. 8 with some beautiful nuances.  You always bring out the melodic line very clearly throughout too.  If I were to make a couple of suggestions, they would be to smooth out the polyrhythms just a bit more.  Also, you might want to play the reprise of Part A at dynamic ff to add even more drama there.  But overall, it's very good and thoughtful playing.  I really enjoyed listening.  You've further raised awareness of Bortkiewicz's music by taking the time to learn this fine prelude and post it here for everyone's benefit. 

Coincidentally, I've also been practicing No. 8 and hope to post it in a couple of weeks or so.  My interpretation will be somewhat different, I'm sure, but that's what makes rediscovering these long-lost pieces so intriguing--hearing how different pianists have analyzed the scores, formulated performance concepts, and have brought them to life through their musicianship.  Preparing any Bortkiewicz piece is like starting with a blank slate, which is a real challenge.  Who knows?  We might end up with all ten preludes posted here.    

[counterpoint]

Hi rachfan,

thank you very much for listening and for your kind comment. Yes, of course, the triumphant part should be much more triumphant. The funny thing is: by nature I would play everything much louder and I would banging on the piano with full force. That's what I did, when I was young and ruthless    My favourite piece in these times was Prokofieff Sonata No.7 

Today I'm aware, that the power of ff is not the real power of the muscles, but the energy and intensity of the melodical and harmonical progression. But I was really too cautious. With the lots of jumps it's a very dangerous part, so I played as safe as possible. If I know the piece better, I will make a new version, that really foams over at that part 

I'm not absolutely sure what you meant with "smooth out the polyrhythms", I fear, I will not do that. In contrary, I often try to break the rhytm off (and the chords, as is very obvious in this recording). I like to break music into pieces 

Btw. I'm quite enthusiastic about the music of Bortkiewicz. He composes so unbelievably well. With some very rare exceptions, every note  is just at the right place and is filled with emotion. Bortkiewicz was a student of Liadow, so this could explain, where his composing mastery came from. There is also much influence from Scriabin's early  works.

[rachfan]

Hi counterpoint,

Yes, the more you look into Bortkiewicz's music, you'll come away astonished, wondering where this music has been hiding all these years.  Both pianists and audiences have been short-changed not having hearing it played.  Much of his music has much originality, but some of it is derivative too, from Scriabin, as you say (see Prelude Op. 33, No. 10 for instance), Chopin, Liszt and even a little Wagner.  In the No. 8 there is an obvious nod to Chopin.  Look seven measures from the end, where the LH downbeat is a D flat octave.  Then follows G, A flat, B flat, G, A flat, E flat, C, D flat, B flat, G, A flat and F at the top of the chord in the next downbeat.  Now, if you have the volume of Chopin Preludes handy, look at Prelude No. 20 in B flat and go to the the coda, five measures from the end and look at the LH.  It's B flat, E, F, C, A, B flat, E flat, C#, D, G, E, F and D as the next downbeat.  The two passages are like twins.   

When I mentioned polyrhythms, I was refering to figure such as a triplet in the LH against a duple in the RH ("three against two").   Just satisfy yourself that you've got them in synch. 

I just listened to your rendition again.  Fine playing!  Isn't this great music?