Pianists that play completely different then the composer markings.

[sevencircles]

What pianists do you know that often ignore the composers marking and play the piece in a different tempo, adding and ignoring tempo and dynamic changes etc?

Do you know any pianists that does it really well?

Glenn Gould did it and Pogorelich does it. Glenn Gould often did it pretty well but Pogo seems to mostly play at a really slow tempo these days.

[quantum]

One of my teachers collaborates frequently with living composers to play new music.  She will often divert from the written score directions according to the circumstances of the performance.  One may think this ticks off the composer, however, the composers are usually very pleased with the changes. 

When a composer thinks up a work, they may have a specific instrument, acoustic, or performer in mind.  This to a degree is reflected in the score.  But if that work is played on a different piano, in a different space, and by a different person than first imagined, the results obtained by literally following the score may be very far from the musical or sonic intention. 

[sevencircles]

One of my teachers collaborates frequently with living composers to play new music.  She will often divert from the written score directions according to the circumstances of the performance.  One may think this ticks off the composer, however, the composers are usually very pleased with the changes. 

It annoys me that many people think that the composers think the composers tempo suggestions etc are holy or something.

I think it should be up to the performer to choose any tempo he or she wants at least if itīs a piece that has been recorded and performed really well many times according to the composers markings.

Playing the exaxt opposite to the composers markings can creat a completely different piece that is sometimes better.

I personally like when you start at the intented tempo and then accelerate to a presto tempo and then slow down again. Like in for instance the first movement of the moonlight sonata.

[49410enrique]

cecile licad is especially good in her interpretations of gottschalk, i love what she does with her ideas on dynamics, articulation, and rhythm manipulation

[richard_strauss]

Arthur Rubinstein used to do so. I never understood why a colleague told me (we're both students back then) that I played appassionata like Rubinstein until I went to play the piece in a masterclass  and the maestro got really upset because my playing was nothing like what Beethoven wrote (and I had the UE wienner urtext edition). When I get home I got my cds and started comparing the piece; I listen to Barenboim, Richter, Gilels, Pollini, etc... when I got to Rubinstein I was shocked to discover that EVERYTHING I did "wrong" was exactly was Rubinstein was doing and that was completely different to the sheet music.
Horowitz and Cortot used to make markings of their own as well; and Rachmaninoff, everything he played sounded like Rachmaninoff!!!

[bachmaninov]

Russell Sherman

[sevencircles]

Arthur Rubinstein used to do so. I never understood why a colleague told me (we're both students back then) that I played appassionata like Rubinstein until I went to play the piece in a masterclass  and the maestro got really upset because my playing was nothing like what Beethoven wrote (and I had the UE wienner urtext edition). When I get home I got my cds and started comparing the piece; I listen to Barenboim, Richter, Gilels, Pollini, etc... when I got to Rubinstein I was shocked to discover that EVERYTHING I did "wrong" was exactly was Rubinstein was doing and that was completely different to the sheet music.
Horowitz and Cortot used to make markings of their own as well; and Rachmaninoff, everything he played sounded like Rachmaninoff!!!

Neither Rubistein or Rachmaninov played things really completely different did they? Like playing in a presto tempo when it says largo etc.

I know that Gould plays everything completely different on some recordings and Pogorelich plays Largo when it says Presto pretty often these days.

[richard_strauss]

Neither Rubistein or Rachmaninov played things really completely different did they? Like playing in a presto tempo when it says largo etc.

I know that Gould plays everything completely different on some recordings and Pogorelich plays Largo when it says Presto pretty often these days.

Then we have a different understanding on what "completely different" means. Rubinstein made up performance marks and tempo changes that were not indicated by the composer. Why you'd think Rachmaninoff played pieces according to the sheet music is beyond me. About Gould, I guess you're referring to the Brahms concerto, however most of the changes he made on the pieces he played were based closely on textual analysis and research. Probably my concept of what "completely different" is might be too subtle, sorry.

[sevencircles]

Then we have a different understanding on what "completely different" means. Rubinstein made up performance marks and tempo changes that were not indicated by the composer. Why you'd think Rachmaninoff played pieces according to the sheet music is beyond me. About Gould, I guess you're referring to the Brahms concerto, however most of the changes he made on the pieces he played were based closely on textual analysis and research. Probably my concept of what "completely different" is might be too subtle, sorry.

Gouldīs Mozart and Chopin recordings almost sound like he plays from a score where there is nothing but the notes sometimes. No tempoindications or anything.

Give a good example of Rach playing completely different then the composers markings. 

[jtguru]

Give a good example of Rach playing completely different then the composers markings. 

Prelude in C Sharp Minor. After the Prestissimo, the composers marking is Tempo I, and yet he plays that section much faster than the beginning.

[werq34ac]

Gouldīs Mozart and Chopin recordings almost sound like he plays from a score where there is nothing but the notes sometimes. No tempoindications or anything.

Give a good example of Rach playing completely different then the composers markings. 

Rach sometimes plays completely differently from his OWN markings. Opening of Rach 2, he VERY CLEARLY breaks it up although he is obviously quite capable of blocking them.

[_nisa_]

Give a good example of Rach playing completely different then the composers markings. 

If I may give several:

The Impromptu linked above by Schubert is a very good example in the tempo and the dynamics.

I also have two recordings of him playing his own Op 3 No 2 that are completely different... however it is on CD and I cannot link.
Still about one of his compositions, the Op 23 No 5, listen to the following recordings:

Else I recommend his recording of Chopin's Sonata Op 2 (findable on ourtube). If you are not familiar with it, then go to the funeral march (third movement) and listen to the tempo, then listen to the second A section, it starts in forte instead of starting in piano. (I prefer this version than that which is scholarly played, I find it builds more drama)

Also his rubato and tempo in Chopin's Op 64 No 2 are not really conventional and not in accordance with what the composer wrote.

I stop there!

He is a good example of the freedom that a pianist should have compared to the way we are usually trained. But other debate