Dutch pianist and pianist Ford artist Ronald Pratikam on Tuesday echoes the first new acquisition of Burke Hall in 2020 by Rodney J. Schmidt in the United States. Produced by Regier. This recitation of the works of Schumann, Mendelssohn and Schubert is his first performance in Montreal.
Ronald Praticum knows Quebec for coming to the Festival de lanador in 2010, then in 2013. This glamorous musician is as much an artist in modern musical instruments as he is in time. Also, he has recorded two complete Beethoven concerts over ten years to explore the sound universes offered by different types of instruments. His recordings, published by the Swedish label Pizza, are mostly references, for example, complete sonnets by Hayden or Beethoven to the Pianoford edition.
The new Pianoford was built specifically for the Porky Hall by instruments designed by Viennese makers Conrad Graf and Ignas Bestendorfer from the late 1820s to the 1840s.
“Appreciated for their delicate and subtle sonarities and ability to create a wide range of nuances, the tools Beethoven and Schubert became particularly familiar with during his visits to Vienna, Robert and Clara Schumann at the end of their lives, as well as Mendelssohn,” Porky Hall tells us.
Ronald Pratikum, even though he was loyal to the tools of organbuilder Paul McNaldy, was a stalwart of Rodney J. Knows the pianofords made by Regier. “I’ve heard a lot about the instrument. I played it [sur] Regier’s tools, one in Lanaudière, but [sur] One of the copies of Conrad Groff in the Netherlands. So I know his sound philosophy, ”the pianist tells us.
To compose the show, Ronald Praticum first paid tribute to Isolt Lace. “M.Me Lace asked for my record Love Without words By Mendelssohn. She loved this record so much and respected me for asking me to open this pianoford. Of course, I added a few Love In the project. He later married Rodney J. He called the Regiment and asked if the tool was suitable for the works of the young Robert Schumann. The postman responded positively, we will ask Fantasytech Opus12. In the second part, the classic Sonata D960 Schubertin, this room deserves revenge because it was planned there by Gadia Punyadishvili.
Delivered in October 2021 after a delay of a few months due to infection, the device was scheduled to open in January 2021. Then several times, in particular, in March 2021, Christian Bessuittenhout on a song by Sophie von Otter. History and epidemics passed the profit and loss in the trash.
The initial “Tag 2” was to take place on October 24, 2021 with Andreas Steyer, who had to cancel his presence due to health reasons. So lo and behold, in April 2022, in this third attempt, again, the “starter” Ronald Pratik was first expected.
If Ronald Pratikum talks about “sound philosophy”, then every factor has a style. “Some people like to take their copies to the harpsichord, not colorful in a way. My thirty-year-old friend Paul McNaldy worked at Steinway, so he’s familiar with modern pianos and tries to access the colors that can be found on modern instruments in his copies. I mean, they are very” multicromatic “instruments.
“Also, there are reasonable tools Piano And Strong, Without multiple layers of subtleties in between. I am looking for a wider palette because I firmly believe that Mozart and Beethoven did the same in terms of their orchestral work. ⁇
In his complete Hayden sonata, Pratikam confines himself to one instrument. One wonders if this happened of his own free will. “Now I’m looking for different tools. But this was the beginning of cooperation with Biz and economic restrictions prevailed a little in other respects. Biz wanted to reduce the risks at that time. Today, of course, I will take it. London Sonatas A copy of an English pianoforte or similar instrument. ⁇
Ronald Pratik understands that we want a tool that fits every sonata, but it is not realistic. “Mozart sometimes played his sonatas on the elements: he’s more flexible than we are,” he says.
His tool selection is not always history. “For Mendelssohn and my concerts Love without words, Historically, I have never used a tool that is better for Mendelssohn; I took what sounded most appropriate to the sound ideal I had in mind. ⁇
Pratikam is a follower of the copies of pure pragmatism. “Museums have beautiful historical tools, but they can not move. Also, while the sound may seem wonderful to you, keep in mind that they are 200 years old and may have flaws in the mechanism. This or that note will respond less effectively.”
Ronald Pratikum is the only artist to have engraved Beethoven’s concerts on modern piano and pianoforte. “I recorded my first spin on a modern piano. One day I had a concert in Norgoping with Andrew Barrow, and it’s so convincing that we recorded there. , He had a lot of good explanatory ideas.
Prithviraj did not deny anything: “I like this cycle very much, but I wanted to record it with a time instrument that raises the question of the balance between the solo and the band. The orchestra is of great importance here because the modern piano has always existed, while the pianoforte can be integrated into the form of room music. ⁇
At the concert, it is almost impossible to achieve these balances properly, because the rooms are always too large and the pianoford disappears too much. “The only way is to listen to things like an idiot who doesn’t help music,” laughs Ronald Pratik. But this was already in Beethoven’s time: he told Cherney to play Concert nOh 4. Cherney refused: “I will not listen”. This is why, in the view of the artist, the record, which can be played with balance, is a boon.
Like Duty I recently saw how to record the piano, in this case, for the version with the modern piano, it is interesting to know that the instrument was placed in the middle of the band, without a cover, to melt a little more. , Whereas for the version with Pianoford, the sound engineers separated the instrument from the band. “Engineers are always afraid that microphones dedicated to the pianoford will pick up the orchestral sound. They like to keep the sound” clean “so they tend to keep it at a distance, which, for me, increases the difficulty of playing musically with the orchestra.
Ronald Pratikum will record Schubert’s final works next summer. In April or May, he will go to Paul McNaldy to pick a tool. “Paul McNaldy has many copies of the Graf Pianofords. It would not be a problem for me to take the same instrument to play everything, because the same sound is better for the same composition. It’s simpler than Beethoven who changes instruments every year. , So you can choose your colors like an organist.It is essential from the artist’s point of view because “the taste is overwhelming”.
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