Alexander Hawkins

I could be remembering wrong, but doesn't the manuscript of the trio sonata portion of that work expressly request flute/violin/continuo? Anyway, what an astonishing piece *that* is! (Count me in as a huge fan of the Webern orchestration of the 6 part Ricercar.) Re TAF and contemporary performances - I don't know about contemporary practice and playing things like this from unpublished manuscripts, but wasn't it only published posthumously?

Absolutely! Yes, I'm really looking forward to checking out this performance!

Jim - there are a few bits here and there of Gould working in the studio. Here's a little video which I think is really fascinating, of Gould mixing his Scriabin. The Sibelius record is a pretty fascinating document of his approach too. A nice book which goes into Gould's piano is 'A Romance on Three Legs'. It contains lots of biographical detail on his faithful/long suffering/delete as appropriate technicians; things on how Gould requested they set up CD318, his own Steinway D (which explains why you can hear the hammers bouncing just very occasionally when he really attacks the instrument); accounts of recording sessions etc. Larry - I hear what you're saying, although I wouldn't personally say 'over-' differentiates; this is the clarity I love in Bach (e.g. the quality of the voicing is one of the reasons why I think Lipatti's Bb partita is held as such a classic). Again, I don't really feel that there's any 'correct' way to voice this type of contrapuntal writing. But I suppose worth throwing in (and relevant to the Rosen discussion, since I suppose the piece would be regarded as one with which he has a special connection) is that of course with pieces like The Art of Fugue, it's not even clear that we're dealing with keyboard music as such in the first place anyway; so it's harder to claim that lines need to speak with the same timbral/dynamic homogeneity as the by definition would on a harpsichord.

Incredible music! One performance which I think is really worth anyone's time checking out is by Eastman's own group doing 'Stay On It' at the CCA in Glasgow. I think the key here is the wildness and improvisatory freedom, whereas I have heard Eastman's music done in more of a 'museum piece' contemporary classical 'repertory' way, which I don't think quite captures it...

I have to say that I disagree a little with Charles Rosen (extremely respectfully - I'm definitely an admirer of his playing). It's very interesting to read what he says - I used to play a number of preludes and fugues on the organ when I was much younger, but have actually recently been going back to the WTC to learn some more on the piano; so have been listening a lot again recently. A few thoughts in relation to what he says: - yes, Bach of course often dovetails the entrance of a subject with the end of a previous phrase; but I don't think it follows that this is an attempt to 'hide' the subject. Look for example at the language of the countersubjects, which leave lots of space for the subjects (melodically/rhythmically/otherwise) - I take it that Bach of all people could hide a subject much more successfully than claimed, if this is what he's really trying to do. Plus of course I don't think all entrances of the subject are equal; then there are the false entrances of subjects, etc. etc. etc. - of course pianists have a variety of options open to them which aren't open to harpsichordists (etc.) to voice an entry...and yes Gould (alongside countless others) will often bring out the entrance of a subject; but he chooses his moments. Richter too in his recording. Some he makes very obvious; others less so. For sure Rosen doesn't mention Gould, and one reason I wouldn't personally link those comments to Gould is that it sells him way short IMHO here, in talking about performances 'in which the theme is consistently emphasized to the detriment of the other voices'. I don't know of many pianists who would argue - whether particular fans of Gould or not - that he emphasises the theme 'to the detriment of the other voices'. I would say that one of the miracles of Gould's playing pianistically speaking, and one which I don't think many detractors of his would deny (though of course there may be many other aspects of his artistry on which they're less than keen), is his ability to articulate and phrase a number of contrapuntal lines simultaneously, i.e. not just the subject (take e.g. the 5 voice B flat minor fugue from book 1; which I would say also gives the lie to any idea that Gould just hammers out all entries of the subject...some he makes very obvious here; others far less so - listen e.g. to the delicacy of the stretto at the end). Just a few thoughts scribbled in a rush. I love Gould in Bach (the WTC and other stuff which I think feels very different in ways, e.g. the partitas). I also like Charles Rosen! On a slight tangent: I sometimes feel like the 'Ur' Gould is actually possibly the Byrd/Gibbons stuff, even more so than Bach. And just one last thought: I think so much of the magic of Bach is that there are so many ways to play it; and that however personal, idiosyncratic, (in-)authentic or whatever the playing, it still always sounds like Bach... I've never heard that, and it wouldn't make sense to in most Bach, where individual parts move between the hands. On the one hand, knowing how much he loved the studio as an instrument in itself, I guess it wouldn't be totally surprising if he tried it to see how it sounded; but on the other, I actually think it would - on balance - be harder to do, and to get it sounding musical, than just to play the thing down..!

Yes!!!

Can't think of a version of no.1 I enjoy more!

Yes, I enjoy their Bartok. (And on Supraphon - amen!)

I'll take a listen, thanks - I don't have that version. I have to confess - I virtually always reach for Czech quartets with Janacek, but of course I'm definitely open to others. p.s. fwiw, for my money - I think I'd say these pieces *are* overtly edgy!

The art of melody in 51 steps.

Yes, much appreciated your tip off on Weissenberg - sent me back to the very little I knew, and now investigating more! Ciccolini: I don't know the box. In fact - I think perhaps the only Ciccolini I know is his Satie... Funny you should mention Meyer - I was blindfold tested with some of her Bach recently from the big EMI box, and really enjoyed it. I don't have the box, but made a note to myself to investigate more! Love her Chopin preludes...that last one (the d minor) is pretty unbelievable in her hands! Now (from the DG box):

They’re relatively new to me, but I enjoy them quite a bit. In some senses, his Bach reminds me of Argerich - totally inauthentic in ways, but played with such clarity of purpose that it just ‘works’ nonetheless. I love how ‘no nonsense’ it feels. (And the slow movement of the Italian Concerto really is beautiful!). The Scarlatti is great imho...I’m definitely of the school of thought that there are almost countless ways of playing these things - I’m also a big fan of eg the Pogorelič Scarlatti record... I think in both cases (Bach/Scarlatti) one thing I find interesting in Weissenberg’s approach is the way he marries romanticism with total clarity.

Earlier: Now:

Yes!!! And no particular reason to stop with the Eurodisc box set at the moment, so listening again to the Chopin Scherzi!

At the moment:

Yes! Some eccentric tempi and phrasing for sure. Though I really like it...I think he captures a lot of the playfulness of Haydn!

Indeed...and often they seem just to be players' agents talking up their worth so they can negotiate bigger salaries! FWIW Mbappé to Madrid was getting a lot of possible play over here too...though this makes more sense to me: in their true 'Galacticos' fashion (yawn), I suppose only Hazard, Mbappé or Neymar would do at present in world football to replace Ronaldo. Don't know if you ever look at this page? https://www.bbc.co.uk/sport/football/gossip - it can be a useful one stop shop to see the morning's rumour mill..!

I enjoyed it for sure! Fascinating to read his thoughts on other artists...

Yes...the Hazard rumours have maybe quietened down just a *little* bit over here in the last couple of days...I guess with both him and Courtois much will depend on how they react to Sarri's appointment as manager. FWIW however, there was talk this morning in the press of Chelsea being linked with Donnarumma should Courtois move on...

Ha! Yes, revisiting some Richter as I just read this book: