Author Topic: Concert tonight at Wigmore hall in unequal temperaments  (Read 2391 times)

0 Members and 1 Guest are viewing this topic.

David Pinnegar

  • Hero Member
  • *****
  • Posts: 1652
  • Karma: +66/-3
    • View Profile
Concert tonight at Wigmore hall in unequal temperaments
« on: July 26, 2011, 11:32:30 AM »
http://www.wigmore-hall.org.uk/whats-on/productions/viviana-sofronitsky-fortepiano-28559

Programme
CPE Bach

Sonata in G minor Wq. 65 No. 17
Mozart

Fantasia in C minor K475
Beethoven

Piano Sonata No. 14 in C# minor Op. 27 No. 2 'Moonlight'
Schubert

Impromptu No. 3 in Bb D935
Chopin

    * Nocturne in C minor Op. 48 No. 1
    * Polonaise in C sharp minor Op. 26 No. 1

Liszt

Funérailles S173 No. 7
About this concert

Viviana Sofronitsky, a great exponent of the fortepiano, presents a unique programme on 5 new fortepianos from the studio of Paul McNulty. Showcasing the development of the fortepiano from the Stein and Walter used by CPE Bach and Mozart through the Graf of Beethoven and Schubert to the Pleyel and Boisselot of Chopin and Liszt.

This concert marks the inaugural concert of Liszt’s Boisselot 1846, commissioned by Stichting Weimar to celebrate Liszt's bicentennial in 2011.
David Pinnegar, BSc ARCS

David Pinnegar

  • Hero Member
  • *****
  • Posts: 1652
  • Karma: +66/-3
    • View Profile
Re: Concert tonight at Wigmore hall in unequal temperaments
« Reply #1 on: July 27, 2011, 12:47:34 AM »
Hi!

I don't yet kknow what temperaments were used but the McNulty instruments were copies of fortepianos:
J A Stein c.1788
This sounded harking towards the harpsichord and was delightfully delicate
A Walter and Sohn c 1805 used for the Mozart
utterly delightful
C Graf c. 1819
Used for the Schubert - at first this was the sort of fortepiano I don't like as it has a very woody top end. Worked very well for Schubert - has brass not overwound bass strings. The temperament made the modulation into ?Bb minor very muddy in the bass. However on Una Corda this was exquisite - possibly like the Stein - very delicate light singing silver tone, a bit like a music box.
J Pleyel 1831
This instrument was the first that demonstrated power. Chopin used to say that the Pleyel was the piano he liked when he wasn't well as it was easy to give power.
Boisselot 1846
This had a warm resonant bass and possibly reminiscent of 19th century broadwoods. I wondered whether it had felt or leather hammers.

Sorry this is not greatly organ related but as keyboard instruments influenced each other, their development may show common aspects of progression.

Best wishes

David P
« Last Edit: July 27, 2011, 12:51:42 AM by organforumadmin »
David Pinnegar, BSc ARCS

 


Locations of visitors to this page

Organ Design


Latroba Holidays