The Most Important LvB Piano Sonata Cycle Comparison in the History of the World

[Mandryka]

I first came across the idea of "museum quality" applied to performances in this 10 year old post by Todd - it's an interesting post.

After having heard a fair number of recordings by Steven Osborne, I have come to see his style as what I'll call museum quality piano playing.  He never puts a wrong foot forward.  Everything is meticulously played.  His recordings have a sheen of perfection about them, and they practically yell, or at least politely proclaim, this is classical music.  Yet something is held back.  There's a reserve, a detachment to his playing.  His style, for me, pays huge dividends in Ravel, and works quite well in Messiaen, too, but in Debussy, Mussorgsky, Prokofiev, Rachmaninoff, and Beethoven, there's a sense of things being a bit too smoothed over and constrained.  The limitations are only evident if I opt to compare him to other pianists, and even then it is only the interpretation that I may have concerns about – if ''concerns'' they be.

I didn't come to his Schubert with trepidation.  I came to it with eagerness.  My eagerness was rewarded.  For the most part.  The disc opens with D935, and all four impromptus sound unfailingly beautiful, though not lush and warm in the manner of Lifits, but rather polished, bright, and colorful.  And the melodies are the thing here.  Not to take anything away from Osborne's rock-solid left hand playing in terms of steadiness or clarity, but time and again on this disc, the right hand playing mesmerized me.  His gentle dynamic gradations at the quieter end of the spectrum are glorious, and when the music should sing, it does.  The great A flat major Impromptu, surely one of Schubert's greatest pieces, may (?) lack the intensity or deepest depths of some other versions, but it is so steady, so precise, and so controlled as to demand absolute focus from the listener.  The melodies in the F minor Impromptu offer aural bliss.  D946 starts off with a somewhat vigorously paced Allegro assai, which nonetheless remains lovely throughout.  The Allegretto is lovelier yet, if perhaps lacking the otherworldliness of Kars or experiential depth of Paik.  The Allegro is lyrical and the coda packs something of a punch.  It is not dark, heavy, brooding ''late'' Schubert, but it is effective on its own terms.  The disc ends with D576, Variations on a theme by Anselm Huttenbrenner, a piece I'm not even sure I've heard before (I'd have to check my collection).  It is a most enjoyable piece, if not a grand set of variations.

Listening, I sensed that museum quality feel to the playing throughout.  It lacks that something special that, just sticking to this thread, Fray or Lifits brings.  But that is observation more than criticism.  This is an extremely fine disc, and one of Osborne's better outings.  I certainly would not object if he recorded more Schubert.  And I'd really like to hear him in person.

SOTA sound.

[Atriod]

IOW, you can't answer the question.  I suspected as much.

Like the times you've been asked about zen or some other terms that AnotherSpin brought up? Other than replying that he is triggered?

Let's not have double standards. If GMG'ers can have free reign on words, it's not restricted to yourself.

[Madiel]

And who is Claudio Columbo?

A man who programs a midi keyboard.

Seriously. Some years ago I tried to get him kicked off various streaming platforms because he isn't actually a pianist, but has somehow accumulated an enormous "repertoire" of albums.

[Todd]

Like the times you've been asked about zen or some other terms that AnotherSpin brought up? Other than replying that he is triggered?

Let's not have double standards. If GMG'ers can have free reign on words, it's not restricted to yourself.

Deflection.  It's all good.

[Madiel]

Deflection.  It's all good.

It's your favourite.

[Atriod]

Deflection.  It's all good.

It's objective fact I learn from the best.

[Todd]

I first came across the idea of "museum quality" applied to performances in this 10 year old post by Todd - it's an interesting post.

Osborne's style is exactly what I have in mind every time I use the phrase "museum quality" as it pertains to piano playing.  Do note that museums very often contain works of widely disparate quality.  Sometimes the works are bland, sometimes the works are superb, sometimes the works are transcendental.  People can use any definitions they choose for any of those words, as is the GMG custom.

It's objective fact I learn from the best.

I'm sure you thought this was potent or whatnot.

[Atriod]

I'm sure you thought this was potent or whatnot.

Scientifically more zen than potent or whatnot.

[Todd]

Scientifically more zen than potent or whatnot.

Meh.

[Todd]

I had a sensible chuckle when Todd was writing about some piano concerto comparison and gave different descriptions of an identical performance from a pianist he thought recorded it twice until it was pointed out by another GMG'er they are the identical performance on the different reissues Todd was listening to.

I don't recall this.  Can you please provide me the link?

Also, it's good to know that you pay such close attention to what I write.

[(poco) Sforzando]

What's a coherent musical structure?

Oh, I don't know. Perhaps something to do with zen, or museum quality?

[(poco) Sforzando]

A man who programs a midi keyboard.

Seriously. Some years ago I tried to get him kicked off various streaming platforms because he isn't actually a pianist, but has somehow accumulated an enormous "repertoire" of albums.

I can believe that. The Waldstein I heard was very clean, metronomic, but not exhibiting much in the way of tempo fluctuation or phrasing. I've generated computer files of that sort myself. Soon on the other hand shows a wide range of tempo fluctuation which adds to the interest and liveliness of his interpretation.

[Todd]

Oh, I don't know. Perhaps something to do with zen, or museum quality?

Zenness is a much more impactful and objective word when discussing classical music performance style. 

[DavidW]

Seriously. Some years ago I tried to get him kicked off various streaming platforms because he isn't actually a pianist, but has somehow accumulated an enormous "repertoire" of albums.

If it makes you feel better, Spotify has been dumping AI-generated music on their platform, which is even worse!

[Mandryka]

I can believe that. The Waldstein I heard was very clean, metronomic, but not exhibiting much in the way of tempo fluctuation or phrasing. I've generated computer files of that sort myself. Soon on the other hand shows a wide range of tempo fluctuation which adds to the interest and liveliness of his interpretation.

It's the choice of those embellishments which people are gesturing towards when they talk about depth/superficiality. On the one hand, the embellishments can draw the listener's attention to  aspects of the music -- inner voices or features of the instrument like partials,  or ideas which recur in some way as the music progresses through time. Deeper here means revealing the hidden. But there's more than that. Insofar as music can be aesthetically and emotionally engaging, the embellishments have a role in that -- I'm thinking particularly here of unexpected affecting timbres and the way tempo rubato can make the musician sound as though he's confiding spontaneously. Deeper here is connected to evoking an  emotional response -- the more ineffable or multivalent that response, the more the depth.

[Todd]

If it makes you feel better, Spotify has been dumping AI-generated music on their platform, which is even worse!

Not always:

[George]

I've cleaned up the thread a bit. It is devolving into petty sniping. Please try to agree or disagree with someone's opinion and explain why instead of accusing them of using empty words or not understanding what they are writing. The way you are all going is unproductive and will likely lead to another heated argument and a locked thread.

I appreciate your efforts, David. It clearly isn't working. As much as I love Beethoven sonatas, I have unsubscribed from this thread and won't be returning. 

[Mandryka]

Listening to Stephen Osborne play op 111. It is museum quality, and it is top tier. The museum quality is not a drawback.

[Mandryka]

There are three recordings of op 110 by Irena Mejoueva -  studio, Tokyo and Kyoto. All interesting - I find myself drawn to Tokyo, but which seems to have a delicacy, finesse, which I appreciate.

[Leo K.]

I have discovered Igor Levit's cycle, really like his Moonlight. His cycle is quite enjoyable, very active with thought and detail. Same with the Sohn cycle. What riches.