Bortkiewicz, (С. Бортке́вич), Prelude, Op. 40, No. 7 in E

[rachfan]

Here I’m presenting the  "Prelude", Op. 40, No. 7 in E by Sergei Bortkiewicz from his set entitled Seven Preludes published by Litolff.  It was written in 1931 during his so-called second Berlin period.  This wonderful Late Romantic work provides a rousing and fitting conclusion to Opus 40 (although I still have more pieces to learn there).  This was not an easy piece for me to play.  The constantly moving chords, the melody and some accompaniment co-habitating within the right hand, the stamina needed, and some large leaps were all challenges.  I think I've done my best with it.  I hope you'll enjoy this music!

Piano: Baldwin Model L Artist Grand (6’3”)

Recorder: Korg MR-1000 DSD

Microphones: A matched stereo pair of Earthworks TC-20 small diaphragm, omnidirectional condenser microphones in A-B configuration

Comments welcome.

[becky8898]

Hi Rachfan. I just love this music.  I do have one thought, and I know you have so much going on with the music but for the future. . Ok  - The part at the end where you stop playing for a moment.   I think a couple of bars before that  the volume should fall way down and then a lot of accelerando and a sharp crescendo up to the point of silence. Maybe I could say other ideas, but that gets my point. Just love this music and love you for playing it. Hearing this just fills my head with ideas. So much music to learn and so little time. 

Keep up the great posting and thanks for the kind word on my Chopin etude.   

Cheers , Becky.

[rachfan]

Hi Becky,

Thanks for listening and your kind words.  I'm happy that you enjoyed the piece so much.

Regarding your idea: I hear what you're suggesting, but the only issues would be that the dynamic there is still ff and Bortkiewicz, three measures before that femata you mention, adds in a rinforzando to make it even stronger such that when the chords in the fermata sound, that dynamic is fff.  Thus it would be difficult to justify from the score a subito p, and an accelerando and crescendo there.  I do take some liberties in my interpretations, but by and large I try to observe the score indications.

Thanks again for commenting!

David

[furtwaengler]

David,

I'm glad you're playing Bortkiewicz again. This prelude sounds like a beast! Again I'm taken to Scriabin's world (you must understand I've had so much Scriabin in my life, it's hard to block him out.) But my little exploration of a couple of Bortkiewicz's works is firmly establishing his very individual, singing, golden romantic voice. Great playing as always, this time flexing your pianistic muscles!

Thanks for sharing!

Dave

[rachfan]

Hi Dave,

Thanks for listening.  Yes, I agree with you that if there is any external influence at play here, then Scriabin would the first suspect.  Scriabin often tried to portray ecstasy in his music, and this piece of Bortkiewicz, I believe, suggests exuberant ecstasy.  But your "beast" analogy is so true!  When playing it, one feels as if he is alone in forest when suddenly finding himself in combat with a bear!  I have another competing recording that is a bit more cautious note-wise, but I like this one better overall as it better captures the spirit I think.

Thanks for commenting.

David

[goldentone]

Hi David,

I was glad to know that you were returning with a Bortkiewicz, as you took a long break from him.  This is a jaunty piece, and makes you feel like you're at the circus.  I like it where things wind down.  You do a great job with the coda.  Thanks for sharing with us.

[rachfan]

Hi goldentone,

Thanks for listening.  It's interesting that you mention the circus. Last night another pianist wrote to me saying she could visualize a carousel.  Not far off really.  I appreciate your kind comment on the coda. It's difficult to play at speed due to the leaps.  Thinking back to practicing, I should have used the "closed eyes technique" to gain more accuracy and confidence with those leaps.

I think most listeners probably prefer the lyrical selections I recorded from Op. 40; however, this rambunctious and boisterous piece certain provides a contrast.  We have to give it that!