WHAT IS THE MOST DIFFICULT PIECE FOR PIANO?

[ahinton]

Alistair, How would you compare Powell's recent recording of Sorabji's Concerto per suonare da me solo and his earlier recording of the same work broadcasted on some French radio station (I think you'll know which one I'm talking about)

I don't have a copy of the latter, nor did I hear the broadcast, but I did attend the performance. Both are astonishingly accurate, thoroughly compelling and a most rewarding listen - the latter demonstrates that Jonathan Powell is more than capable of a splendid performance of this work live - in fact the Montpellier one was the second time I'd heard him play the piece in public. It's a beastly difficult thing to bring off cogently and its ample mood-swings, especially in the outer movements, could easily degenerate into a disorganised, fragmented, episodic mess in lesser hands.

Best,

Alistair

[nicco]

I hope no one gets cancer. What a disgusting wish! In the meantime, I look forward to the way people react when they hear OC played by Jonathan Powell and, in the meantime of that, people could perhaps usefully anticipate what they might get by getting their heads around his existing recordings of other Sorabji works - please visit the Altarus Records website for the discography here (www.altarusrecords.com). If you have any doubts after that, then there's something wrong with your ears...

Best,

Alistair

And how do we know it is actually powell playing? Could be Joyce Hatto

[ahinton]

And how do we know it is actually powell playing? Could be Joyce Hatto

If you mean OC, "we" do indeed know, because Mr Powell has not yet recorded it, so Joyce Hatto could not have had her name put on it! In the case of the others, "we" know because all the other CDs that are now in doubt actually have Joyce Hatto's name on them even though the playing on them seems not to be hers, whereas all the Jonathan Powell CDs are clearly marked as played by Jonathan Powell and, for the avoidance of doubt, you can take my word for it because I attended all the recording sessions and have heard him play all the recorded works in public as well.

OK, I know that you were joking, but...

Best,

Alistair

[soliloquy]

Alistair, How would you compare Powell's recent recording of Sorabji's Concerto per suonare da me solo and his earlier recording of the same work broadcasted on some French radio station (I think you'll know which one I'm talking about)

The studio rec is randomly less furious, but the slow movement is better.

[ahinton]

(error - see below)

[ahinton]

The studio rec is randomly less furious, but the slow movement is better.

So come on, then - what would Boulez have had to say abot THAT?! (especially given that the live performance occurred in his own country)...

The slow movement is utterly wonderful on both, methinks (I assume you to have obtained the CD by now in order that you can comment thus - am I correct here?), although maybe even better in the studio CD, as you suggest...

Best,

Alistair

[mephisto]

Does Jonathan Powell play Sorabji's music with or without the score?

[ahinton]

Does Jonathan Powell play Sorabji's music with or without the score?

With.

Best,

Alistair

[mephisto]

Interesting, shows how different people are, because Habermann sais he has to play it without the score becausen there's simply to much to think about when looking at the score.

[ahinton]

Interesting, shows how different people are, because Habermann sais he has to play it without the score becausen there's simply to much to think about when looking at the score.

As far as I know, Michael Habermann is the only pianist who usually plays Sorabji's works from memory. Frankly, I don't see it as being of especial importance, really - it's for the pianist to decide what's most confortable for him/her.

Best,

Alistair

[mephisto]

Of course.

[dnephi]

That Cadenza from the OC is only 4 minutes long, right?

Is Sorabji's music what one might call "pianistic?"

[jonze701]

IT IS TARANTELLA by liszt!!! 100%!

[thalbergmad]

IT IS TARANTELLA by liszt!!! 100%!

Listen pal, i do the jokes in here.

Thal

[mephisto]

Where do you get your information on Powell? Why do you assume this can't be memorized or "Ingrained" in the fingers.

To quote mr Powell himself when asked if he had memorized the OC:

I didn't play the piece from memory, by the way. Far more things to do! I don't think it's really necessary either.

https://www.pianostreet.com/smf/index.php/topic,4432.msg49330.html#msg49330

[clavicembalisticum]

Difficult and easy are relative things. Why does this always have to degenerate in an ego contest of "this is a hard piece, no wait! this is a harder one".

Anything not requiring more of what 10 fingers can give in any given combination between them and the keyboard, elbows and other body parts that belong to the human race, is within limits. If not one, of the other. Wouldn't it be a more practical question to find out, in anycase HOW to play a given "hard" piece flawlessly?

Difficulty is a very subjective thing.

[amelialw]

one would have to be Brahms's Piano Concerto No.2

[dnephi]

how about Twinkle, twinkle little star?

[retrouvailles]

Perhaps Ligeti's Trois Bagatelles for David Tudor?

[dnephi]

Hmmm... Bolcom's 12 new etudes?

[retrouvailles]

By the way, my last nomination was a joke...

[dnephi]

 

[retrouvailles]

Yes, as you can tell, I'm quite sick of these threads.

[amelialw]

"Twinkle, twinkle little star"
How can it be Twinkle, twinkle little star variations, you must be joking?that piece is'nt hard

[mikey6]

I'd say any of the following
Composition 1960 #2’s instructions, for instance, are
 
 Build a fire in front of the audience.  Preferably, use wood although other combustibles may be used as necessary for starting the fire or controlling the kind of smoke.  The fire may be of any size, but it should not be the kind which is associated with another object, such as a candle or a cigarette lighter.  The lights may be turned out.
 
 After the fire is burning, the builder(s) may sit by and watch it for the duration of the composition; however, he (they) should not sit between the fire and the audience in order that its members will be able to see and enjoy the fire.
 
 The composition may be of any duration.
 
 In the event that the performance is broadcast, the microphone may be brought up close to the fire.
                                                 5.5.60
 
 Composition 1960 #3 has the following instructions:
 
 Announce to the audience when the piece will begin and end, if there is a limit on duration.  It may be of any duration.
 
 Then announce that everyone may do whatever he wishes for the duration of the composition.
                                                 5.14.60
 
 Composition 1960 #4:
 
 Announce to the audience that the lights will be turned off for the duration of the composition (it may be any length) and tell them when the composition will begin and end.
 
 Turn off all the lights for the announced duration.
 
 When the lights are turned back on, the announcer may tell the audience that their activities have been the composition, although this is not at all necessary.
                                                 6.3.60
 
 Composition 1960 #5:
 
Turn a butterfly (or any number of butterflies) loose in the performance area.
 
 
When the composition is over, be sure to allow the butterfly to fly away outside.
 
 The composition may be any length but if an unlimited amount of time is available, the doors and windows may be opened before the butterfly is turned loose and the composition may be considered finished when the butterfly flies away.
                                                 6.8.60
 
 Composition 1960 #7 denotes a B and F-sharp on a musical scale with the instruction that this fifth is “to be held for a long time.”   Composition 1960 #15 is dedicated to Richard Huelsenbeck, one of the founders of Dada:
 
 This piece is little whirlpools in the middle of the ocean.
 
 
Some people find it difficult to build a fire or catch a butterfly!

[desordre]

 Dear Dnephi:

how about Twinkle, twinkle little star?

That tune get my vote too! People talk about Liszt, Sorabji, Ligeti...nah...these composers only wrote music for begginers!
 Best!
 

[retrouvailles]

mikey6, are those by David Tudor? I've seen a lot of compositions by him with crazy directions, such as feeing the piano a bale of hay. Now that's difficult.

[desordre]

 Dear Retrouvailles:

mikey6, are those by David Tudor? I've seen a lot of compositions by him with crazy directions, such as feeing the piano a bale of hay. Now that's difficult.

 La Monte Young is the composer, or concept-designer for that matter.

 By the way, Stockhausen wrote a composition named Goldstaub, part of his Aus den sieben Tagen, that probably is the only one in the entire literature that could be more difficult than the Twinkle tune. Here is the score:

 "Live completely alone for four days
 without food
 in complete silence, without much movement

 Sleep as little as necessary
 Think as little as possible

 After four days, late at night,
 without conversation beforehand

 play single sounds

 WITHOUT THINKING which you are playing

 Close your eyes
 Just listen"
 
 Well, I don't know about you, but in spite the unbeliaveable experience, I just can't by no means go four days straight without eating. 

 Best!

[retrouvailles]

Oh, I should have known that it was La Monte Young. Some of these piano pieces were dedicated to Tudor, not written by him. I have La Monte Young's "The Well Tuned Piano". Interesting stuff.