I say they are human they are more human than the other samples. If the Liszt I is NOT a human, then the person who wrote the notes did mistakes, cos there are note errors.
Yes this is right there are so awful mistakes that it it must be real. No you were wrong with the Haydn which is much more meaningful since with Haydn you cant hide any musical qestion behind pure Brilliance since his music affords pure interpretation of the music.
Played on real keys but not by humans a computer
Sorry that is sheer nonsens. Practiced and played on real keys with real fingers or are finger still parts of a computer in your mind?!
(or maybe it has recorded a human playing already and someone has messed with a midi to make it more clinically correct).
Are you talking about Bach I. ? this one is "real" but not mine and it is awfully stiff and clinical correct, but you don't seem to have any ear for that!
Sorry again, but stop with percentages of musical humanity, you gave the proof, that your ears couldnt recognize the difference between the real thing and the real playing on sampled instruments, just because you are trying to fight your own prejudice.
Befor continuing railing about not "award winnig" interpretations, just let me hear your last award winning interpretation, that proof your understanding and ability to judge.
The missing mistakes in the Liszt is a very good point to reylize what is already explained on my startsite:
- Of course I have studied traditional Piano and have of course practiced and played since my childhood.
- Ofcourse are all the Liszt Studies are practised over Years and than played as every pianoplayer will do with real finger on real keys.
The only differents to traditional audiorecording is the simple fact, that not the Audiosignals were recorded but the behavior of the Keys I have pressed. That gives another Chance to wipe out playing mistakes, of course I wiped them out as far they don't contribute to the musical intention.
But that is defenitly the case for some of the difficlties of the Etudes, like Jumps large Chords etc. The suspected Computer wouldnt know anything about those difficulties each player has if he is trying to to realize thoses Etudes. And it is not really a proof of your musical understanding if you didn't recognized the many fingertechnical caused metrical inegalities. But they belong so totally to the expected appearance of the List Etdes, that you would only recognized it when there are any technical absoltly unrealistic passages only a computer can play.
If you have another impression, name me the concrete part, and I will try to show other examples of traditional interpretations that even were more technically skilled than what you suspect only could be the wok of a computer.
But of course the Etude-recordings on my site are full of fingertechnical but musiocal important metric inegalities, that are important for the musical Idea of the Pieces to show how to cope with extreme technical challenges. So of course I didn't wiped out what makes the charakcteristic of the real playing. thats why I found it extremly important to start from the real played data. Therfor the Etudes are long time practised befor, and sonsequently the recordings they are in no moment faster or technical any more perfect as good pianists could play.
But editing the played mididata after playing, - thats the only thing what is new about my Liszt Etudes - gives more musically reasonable possibilities to outline what the played Interpretation already intended. I hope you finally understand that I start from real playing as everyone does playing the piano. There is nothing artificial about the playing and as you can see, there are still more colourless, artificial and more clinical interpretations played on "real pianos" than many of the recodings I have on my site.
In respect to sorabji: I have heard abot his works, but still have another totally undiscovered Pianocycle on more than thousand narrowly written manuscript pages of a late romantic, early 20th century composer which even might be a larger composition than sorabjis works. It wqill be a lifetime work and I hope I will get the chance to do this job since it is not that probable that any one else will do. But your association is not that wrong, since the large Works of Bach, Haydn, Liszt and the unpublished Messiaen are kind of a warmup for what I intend to do when I am ready to.
best
Steffen
Topic: New website with complete Bach WTP II, Haydn Sonatas, Liszt Studies etc.