parallelinterpretation

Occasions for digital interpretation experiments:

A couple of my projects are trying to respond to open questions from the interpretation tradition of classical music with the currently available instruments. Beside the comparison of different traditional instruments for the same score ("Parallel Interpretation"), there are also some possibilities to explore the original, sometimes perhaps today otherwise scarcely available demanded or possible instrument ("Experimental Instrumentation") or especially when the common interpretation tradition has developed its own clischee of a certain composition simply to follow consequently the interpretation advises in a given score ("Consequent Scorereading"):

J.S.Bach:

Clavieruebungen I-IV (Pigalle Harpsichord + Silbermann Organ Roetha St. Georgen vs. Steinway Grand D CD121)

Concertotranskriptions, (Zell-Harpsichord + Silbermann Organ Freiberg St. Petri vs. Bechstein D 282)

Prelude and Fugues on Themes by Albinoni (Vater Harpsichord vs. Bechstein D 282),

G.A.Benda:

3 Keyboardconcertos with Harpsichord vs. with Steinway D

J.Haydn:

complete Pianosonatas Walther Pianoforte vs. Steinway D

D.Steibelt:

8 Sonatas op.7,, op.9, op.23, op.24, op.45, op.60 (Schantz Pianoforte vs. Bechstein Grand D 282)

W.A.Mozart:

Sonata Nr.18 KV 576 D-major, Fantasy and Fugue KV 394 (Stein Pianoforte vs. Bechstein Grand D 282)

L.v.Beethoven:

Sonata Nr.23 op.57 Appassionata (Broadwood vs. Bechstein D.282)

F.Paer:

Tres grande Sonates (Schoeffstoss vs. Bechstein D 282)

F.Schubert:

A-minor D845, Bb-major D960 (Graf vs. Bechstein D 282)

F.Kalkbrenner:

Fantasy op.33 (Pleyel 1835 vs. Bechstein D 282)

R.Schumann:

Kreisleriana (Frenzel Grandpiano 1841 vs. Bechstein D 282)

F.Liszt:

Studies, Annees de Pelerinage, Valse Oublie, Don Juan Fantasie with and without Ossia rard 1849 vs. Bechstein D 282)

S.Thalberg:

DonJuan Fantasy op,14 Besendorfer 1826 vs. Bechstein D 282)

E. Franck:

Early pianomusic Berndt Grandpiano 1848 vs. Fazioli 380 Grandpiano

J.Brahms:

Horntrio op.40 with natural Horn and Erard 1873 vs. modern horn and Boesendorfer Imperial

M.Ravel:

Pavane (Erard 1873 vs. Bechstein D 282), La Valse, Gaspar de la nuit (Erard 1922 vs. Bechstein D 282)

W.v. Bausznern:

Pianomusic, Bechstein 1899 vs. Bechstein D 282

A.Jemnitz:

Early Pianomusic Pleyel 1926 vs. Bechstein D 282)

S. Prokofiev:

Sonatas(Steinway D 1951 vs. Bechstein D 282)

Leuven Chansonnier:

Realisation in 5-7 different historicly propable renaissance instrumentations

J.S.Bach:

“Lute compositions“ with the Theorbo-Harpsichord and “Lautenclavier“ for which they are intended for

G.F.Handel:

Dixit Dominus HWV232 without female voices as it should be expected for clerical music of Handels time

F.Schubert:

3 deutsche Taenze in the sound of an Orphica (= a transportable keyboard from the beginning 19th Century)

M.Ravel:

Tzigane for Violin and Lutheal as it is demanded in the score

G.Ligeti:

Horntrio with natural horns in all Keys as the modern Hornplayer is demanded to imitate from Ligetis in the score

F.Chopin:

Works for Piano and Orchestra in the original tempo written in the score

A.Scriabin:

Promethe op.60 concentrated on the pure colors demanded in the score without any further exaggerated modern "Light-show-effects"

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