These currently face an uncertain fate. They must be rescued at all costs. Badura-Skoda turned 90 on Oct. At first, they can also sound wiry due to too many overtones.
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These currently face an uncertain fate. They must be rescued at all costs. Badura-Skoda turned 90 on Oct. At first, they can also sound wiry due to too many overtones. But then I started to realize they were halfway between a harpsichord and a modern piano in the shape of a beautiful guitar, and with many extraordinary possibilities.
I was converted and started to go parallel — both modern pianos, which I still love, and period instruments. How old was I? Rather late. Plus they would have found them very hard to play, with their heavy hammers and opaque sound. It was a completely new approach at the time. Fischer was one of the first to get away from the faith that everything had to be legato, and he was the first to introduce a singing staccato playing — a far cry from Glenn Gould , who played too much staccato.
You would think that due to the notes dying away quicker on a period instrument, you would take faster tempi in the slow movements, but I can still manage to keep a singing sound at the same tempi. I enjoy the advantages and I try to tackle the disadvantages of each instrument. You cannot get that wonderful cello-like, guitar-like sound you expect from the old instruments. After all, the best makers in England then had a more powerful sound than the Viennese pianos, which were more sensitive, more exact in their action, more perfectly even due to their light hammers and wonderful regulation.
They are even more apt for ornaments, quick turns, and things like that than any modern piano. So he always wanted the builders to do more, particularly to extend the keyboard. Some of his late sonatas go beyond Beethoven in what they ask of the instrument.
He did everything he wanted within a range of five octaves, which was okay for Beethoven — for the first 30 years. So we had no honeymoon. Our honeymoon was Bach. When Badura-Skoda started to make recordings with period instruments more than 60 years ago, critics balked.
I am proud to have made a good contribution to this development. Not just mine, of course. A few years ago at the Paris Conservatoire , he saw an old piano in the museum and tried two notes. A warden came out and said he must not touch it. Which they do at the museum, in master classes and recordings.
Badura-Skoda, 90, Savors Pianos Old And Newer
Continue reading the main story Paul Badura-Skoda, Who Could Make a Piano Sing, Dies at 91 With an admired tone, he excelled at the heart of the classical repertory and was, with more than discs, one of the most-recorded pianists. He recorded the complete piano sonatas of Mozart, Beethoven and Schubert on both modern and period instruments. He was His death was confirmed by his partner, Elisabeth Vilatte. Though not a formidable technician, Mr.
Badura-Skoda & Demus Play Mozart
Title: My playlist 1 Description: This playlist is created using html elements. At 91 was he still active on four continents, Paul Badura-Skoda was one of the last representatives of a generation for which music is the quintessence of European culture. Music reflects in each of the great composers the life and living style of his epoch, its striving for wisdom, sense, harmony, beauty, fulfilment in love as well as its search for the divine. What sets him apart from many other performing artists was his capacity to play not only the notes but also what happens between the notes, thus welding them into a poetic language, making them "speak. Like his teacher Edwin Fischer, he created a special, personal sound with many different tone colours.