------------------------------- Subject: Beethoven in the temperaments (ED Footes CD) List; The very first thing I 'must' say is that if you don't get a very verrry broad smile on your face when you first examine the jewel case that the CD comes in you have no humor in your soul ! The piano (S&S 'D') is obviously well prepared and does nothing to detract from the abilities of composer or the performance of Ms. Katahn. Her artistry at the keyboard is laudable and quite well received by this listener. The recording is clear and does allow one to listen to the music without being taken off track by any obvious miking/mixing problems. My overall impressions during my first listen were that everything was very well done and most enjoyable. Now comes the part where I get to put in my little zings and displeasure with the temperaments selected for the pieces played......don't hold your breath it ain't gonna happen ! Remember I am a piano tech and not a music critic so my discussion should be understood as relating to the temperament/tuning and not the performance itself. In any event there is nothing negative I would have to say about the performance as Ms. Katahn does not allow her obvious artistry and technique to intrude upon the music. Any negative comments I might have are just that, comments. The totality of performance is what counts and the totality of this CD is superb. Notes: Track #1Pathtique-Grave-Allegro This selection starts off with a passage that I did not care for at all, no suprise though I don't like it in ET either! I found that I liked it less on this recording. Ed used what he identified as a "Prinz" temperament for this selection. I found the dissonance in some of the chord structures to be unsuitable to my ear, primarily from 7:00 to 8:00 on the track, but nonetheless interesting. Throughout the remainder of this track and the other two, Adagio-Cantabile and Rondo-Allegro, I find the occasional mild 'wolf' appearance at unexpected places interesting, though it added nothing to the music it likewise does nothing that detracted from the selection. Track #6 Rondo-Allegro commodo This is a selection I was not at all familiar with so it was probably the best for me to listen to the presentation and not the music. Still in the "Prinz" temp. I found the progression/regression to be somewhat stilted and forced and chord structures to be unmelodic and strained, but I did not feel that way on any of the other selections in "Prinz" so perhaps it is the music I was objecting to and not the temp....I don't know. Track #7 Adagio sostenuto (OP27, No.2, c#mi, Moonlight) This is the first of the "Young" temperament selections and I found myself immediately drawn to the very compelling tonality and the, mostly, very subtle differences in chord structure (I suppose that's what it was) With a time of 5:45 it is not among the shorter selections on the disc but each time I listen, I am disappointed that it ends so soon. Very very nice. More. More. Bravo! Track #11 Adagio Molto- opening passages very mellow, no, very haunting as it were. The changes and flavorings in these simple, yet complex, passages offered by the intervals are very notiecable and I must say very pleasing to the aural palate. As the 'Young' was used in this selection the progressions were smooth and at the same time just enough different to be compelling. I found myself waiting for the next notes to see where it would go. -------------------------- I have picked the most different passages that combined comments from others, on the playlist, as comments about each would make this a very long post indeed. Of the two Temperaments presented I find that the "Young" is the most suitable to my ear and does nothing to detract from enjoying the selections therein. I find that the "Prinz" is very interesting and while I might explore further with the "Young" I would not be so compelled by the "Prinz". Perhaps it's the 'vanilla' in me, but there it is. The "Prinz" I find to be much more emotive than the "Young" and I am sure this is to do with the differing character of keys black to white and octave to octave. This differing character/color is there and while I do not find it unpleasent I also find it not compelling. That said, I did really enjoy track #2, Adagio cantabile.(Prinz) Even there I found the ventures into the bass as flat rather than dark, and ventures into the treble ever shriller rather than brighter. I would not object to offering either of these temperaments to my clients but I am not so sure that I would mention them either, unless the client played an absolute preponderance of titles suited to them. I do not hesitate to recommend this CD to anyone wishing to venture forth in the exploration of "historical" temperaments or just wanting a good, long lasting, great sounding, CD with some very nice music...in whatever temperament! Well worth the price and Ed's pamphlet discussing HT & ET is a valuable added bonus. In summary let me say well done Ed, an excellent recording that puts forth some above average presentations and an excellent argument for exploring the "historical" temperaments. Well done indeed. Jim Bryant (FL) P.S. At this writing I have listened all afternoon and into the evening, both while paying close attention and while doing paperwork in the office. My first impressions haven't changed but I might be just a 'tad' more accepting of the "Prinz" than I was intially although my preference is still the "Young". So maybe Ed is onto something when he posited that HT might be an aquired taste in some instances.
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