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87.53.108.41
It plays one note at a time. The notes can't flow together. It does have tremendous range, but the upper octaves sound bright to me. I am more strings and woodwinds person with the French Horn being about the only solo brass instrument I like.
I think I need to listen to some really fabulous performances. I am a poor judge of that. If some of you could write down your 1 or 2 most favorite performances that are still available on Red Book CD, I would be very grateful.
Thanks for your patience.
"You don't need to be a Weatherman to know which way the wind blows"
Follow Ups:
Go to a live recital....with a good hall and a good piano...sit in the middle of the hall and get immersed in the sound field. There is nothing that can reproduce the immenseness of a Steinway D or a 10' Boesendoerfer. A good piano is melodic, it can sing like nothing and wont go climp on you :-)
Then you can decide how bad all the recordings are.
dee
;-D
True terror is to wake up one morning and discover that your high school class is running the country.
quote by Kurt Vonnegut
… a suggestion far afield from the others already offered is George Winston on the Windham Hill label.
“December” is his first that comes to mind and “Autumn” is the second.
This is simple folk-Americana-improv sort of music that benefits from, shall we say, creative production.
I find it very peaceful.
-=- Charlie F.
on a piano, not so on strings. If you really love strings, and listen to them a lot, a piano can certainly sound "plinkly" in comparison.
If you want to hear legato piano playing, listen to Gerald Moore accompanying Schubert songs.
An excellent suggestion for smooth playing, Mr. Black! Gerald Moore is definitely one of the all time greats.
One of the first things that a child learns when being introduced to any keyboard instrument, such as a piano, is that it can play chords.
What's a "chord"? Any combination of two or more notes played simultaneously or in rapid succession [which is known as an arppegio].
The thing that distiguishes the piano from instruments such as winds, brass, and even strings to an extent, is the ability to play chords; i.e., many notes together. Simultaneously. In that, the piano [along with the guitar and other instruments] takes on an orchestra aspect.
That's very significant, since many composers may emphasize that quality in their compositions. Similarly, many pianists may emphasize or de-emphasize the orchestral aspects of a piece for expressive purposes.
Your remarks suggests that you may not be able to hear certain parts of the music. One of the tests given to any and every student attempting to enter a course of music study involves playing a major and a minor chord. It's not a test for which you may study. It tests inate ability. Students are asked whether they heard any difference. A number of poor sops always indicate "no difference". These individuals are thought of as tone deaf. Surprsingly, nearly all tone deaf persons I've met respond to, and love pop/rock/rap/techo "music".
I'm not saying you're tone deaf. I wouldn't know. But, you may easily determine it for yourself. Have someone play a series of different major, minor, augmented, dimished chords [you'll have to find someone who knows these things]. Listen [don't cheat by watching the player's hands]. If you can't tell the differences, well....plink plank plunk.
Innate ability, or exposure to music in the first few years of life?
The reason I ask is the research that shows that perfect pitch is acquired when a child learn to associate the names of the notes with the notes themseles before a certain age, rather than inherited as had formerly been thought -- and that an adult can acquire it with about a year of practice.
Josh - thanks for the info, which's actually really encouranging. I think I'll put it into action and see if I can train myself to perfect pitch. I'd always heard it was something you're born with. I've got unbelievable relative pitch, so let's see what I can do with it.
However, I wasn't talking about perfect pitch, or any special gifts or talents, above. I was refering to a very straightforward test that music schools administer to weed out the tone deaf.
To that end, among the tests performed are these: the instructor will play a high pitched note on a piano, then a low pitched one. The student is asked if there was any difference.
A single note is sounded, then a chord is sounded. Was there any difference?
And so on. A surprising number of students hear no differences. They're tone deaf. Personally, I've got no doubt that 99% of rappers are tone deaf.
In any case, I strongly suspect that the author of this thread may be partially or fully tone deaf, from the way he repeatedly and stubbornly describes piano music. Being tone deaf, he may not detect chords, or much at all. It's "plicky plank plunk" to him....exactly as he says it is.
Heh, that's as good an explanation of rap as any I've heard.
Are you sure you want perfect pitch? I understand the attraction -- it's wonderful if you want to play things at a first listen -- but I understand that people who have it aren't entirely happy with it, since they're always aware of music that's off pitch.
I'm surprised to hear that so many people can't hear those differences. I think we all remember the tone-deaf kid in the elementary class, the one who always sang off key. But I'd always assumed they were a small proportion of the population.
I've long wondered about the ability of some people to hear what I understand as music. For example, I have a friend who tells me that if he hears the same work played on two different instruments, they sound like two different works to him. This friend is exquisitely sensitive to timbre. He can tell you how many flutes there were, what the bassoon was doing. But he doesn't seem to hear the same music I do -- what makes Beethoven's Fifth Beethoven's Fifth, whether it's played by an orchestra, in a piano reduction, or on a kazoo. I don't think it's an accident that he prefers lushly orchestrated late romantic works of the kind that seem to me to depend more on orchestration than musical content.
In any case, it's an interesting speculation. I've been intimately familiar with the piano my entire life, so I can't quite understand what it would be like not to be, if you get my drift.
is that many, many of your favorites are not on Amazon or have no previews--which says something all too obvious about Amazon--there (and many other places, too) Look elsewhere, of course. But i didn't allow myself the time and got too frustrated looking on on places like Arkiv for audio previews of specific recordings I couldn't find an Amazon.
The second thing is that my brain is just not wired for piano. It can sound choppy, or plinkity-plinkity, or rumbley. The piano doesn't flow for me, it doesn't float, it doesn't swoop. It just hops around from note to note in my mind. So, my brain for some reason is going to deny me the great enjoyment you all experience in return for an obsession with oboes, clarinets, french horns, cellos, violins and guitars.
So, in the end, I ordered Sibelius' Theatre Music box set in the New Complete Works Collection by Presto. I also bought 3 Kent combs on line and gave some money to High Country News.
"You don't need to be a Weatherman to know which way the wind blows"
"My ears. I suffer from otosclerosis; have had 3 operations."
So sorry to learn of your condition. Perhaps that is the cause of your not being able to enjoy the piano. Still, if you can enjoy other music, go for it. Ars longa, vita brevis.
I have had 3 operations for it. The first one on my left ear was muffed, but the second one worked. I only needed one on the right ear. That was about 8 years ago, I think.
Maybe that's it.
"You don't need to be a Weatherman to know which way the wind blows"
Nt
"You don't need to be a Weatherman to know which way the wind blows"
If you can handle this...............
I'm sorry to say I have to admit this group of recordings is beyond my ability to appreciate. To someone who understands better than I do what the artist is attempting to do, it's probably listenable, but to these apparently uneducated ears, it as unlistenable as a child banging on a piano.
Tom Scata (thetubeguy1954)
Full-range/Wide-range Drivers --- Front & Back-Loaded Horns
Central Florida Audio Society -- SETriodes Group -- Space Coast Audio Society
=================================================================================
"The man that hath no music in himself, nor is not moved with the concord of sweet sounds, is fit for treasons, deceptions, and spoils; The motions of his spirit are dull as night and his affections dark as Hell. Let no such man be trusted."
- William Shakespeare from The Merchant of Venice; Act V,i
I like Nancarrow, but not as an example of how a piano should sound. He wrote all of his music for a player piano by punching holes directly into the piano in order to get incredible rhythmic patterns and tempos that a human performer could never duplicate. But a lot of it sounds like really extreme boogie woogie and ragtime.
.......said, "The notes can't flow together" and "I think I need to listen to some really fabulous performances".
My question is this: how does one get the notes on a solo piano recording to "flow together" in a way that this gentleman might appreciate? He lists acoustic guitar as his number one favorite music in his music system profile, but he states in the post that he likes strings. Last time I checked, the piano is a stringed instrument. He doesn't complain that solo acoustic guitar recordings don't "flow together".
I find the question to be a bit absurd. How does one make the piano sound more like....? I could say Cecil Taylor or Art Tatum just as easily as Conlon Nancarrow. Nancarrow's compostions and recordings are as difficult and challenging for someone who appreciates more traditional solo piano recordings as it gets - but this gentleman doesn't GET traditional solo piano recordings.
Collectively, the Asylum could list thousands of artists and recordings for this man to try - but I'd bet nobody else would bring up Nancarrow. He has gotten lots of advice. Let's hope he finds what he is looking for.
For classical and jazz respectively...........
Barbosa's Chopin Four Scherzi is my favorite classical piano album...... Label is Connoisseur Society..... Although no longer available commercially, these pieces have been posted on YouTube . IMO some of the best Chopin ever to make recording.
Lyle Mays is IMO the greatest modern jazz pianist/composer of all time. Just about anything performed by him is gold.
First, when you say SOLO piano, I assume you mean just that and not piano and orchestra?What I really enjoy about solo piano (and being a pianist myself!) is that a single musician is more-or-less in control of all aspects of the performance: the melodic aspect, the harmonic aspect, the textural aspect, etc. It's not as if the purity of the musical conception is going to get dispersed into different directions by different performers. I also like it that the balance and texture are able to change instantaneously at the pianist's touch (something that you can't achieve on the organ or the harpsichord for instance). The weakness of the piano is that you can't crescendo or diminuendo while holding a single tone, so you need a moving line to express your "horizontal" dynamics.
With that said, I'd like to echo the recommendations which have been made for the performances of Minoru Nojima on the Reference Recordings label (also available on some download sites) - not only the Liszt, but also the Ravel (which is IMHO far preferable to what I've heard from the Angela Hewitt performances). As for one or two performances which have not been recommended thus far in this thread, there's so much that could be listed, so these two are just the ones happening to jump out at me right now:
Magnificent music - probably one of the greatest piano sonatas ever written, although it will seem elusive at first. This is a piece of music that really shows what the piano can do - and the performance and engineering combine at the highest level (a situation all too seldom encountered!). Yes, I know that there's a recording of this work with Marc-Andre Hamelin (I have it!), but the titanic forces at work in this music are just not conveyed in his recording like they are in Mejoueva's. Unfortunately, as far as I know, this recording is available only in Japan, so you need to order from HMV Japan or an equivalent site. BTW, I hate to say it, but Mejoueva is not a babe - but she IS a great, great musician.My second choice (as of this moment!) would be the Richter studio recordings of a couple of Beethoven Sonatas:
So much of Richter's recorded output is not optimally engineered - here is one of the few recordings of Richter in his prime where the engineering is worthy of the performances. I DO recommend the XRCD (playable on a regular CD player) over the "plain old CD" issue - it costs more, but playing such as this deserves the very best presentation. Reviewer Harris Goldsmith used to comment frequently on the "plasticity" of Richter's legato, but that's only one of the miraculous aspects of his playing.BTW, my wife recommends the Chopin Etudes, Op. 10, with Egorov:
. . . and the Chopin Etudes, Op. 25, with Sokolov:
Edits: 12/14/11 12/14/11 12/14/11
His Diabelli Variations is top notch.
Beethoven Sonatas performed by Alfred Brendel, also the Beethoven Piano Concertos with Brendel
Mozart Piano Concertos with Brendel, also the Sonatas
Anything Spanish performed by Alicia de Larrocha
Rachmaninoff Concertos performed by Garrick Ohlsson
Bartok Concertos performed by Pollini
For Starters:
Glenn Gould:
Partitas 1 2 & 3 - Anniversary Edition [Limited Edition, Original recording remastered]
Glenn Gould (Artist), Bach (Artist) | Format: Audio CD
4.9 out of 5 stars See all reviews (7 customer reviews) | Like (5)
By
Tom Paine "ex-colonist" (Montana USA) - See all my reviews
This review is from: Partitas 1 2 & 3 - Anniversary Edition (Audio CD)
What more can one say when Glenn Gould plays J. S. Bach? Two masters bringing out each other's finest: Bach is the song and Gould the instrument that vibrates through our souls with messages from the divine. I tell my kids that one of the best ways to get their mental/psychic world in order is to listen to Bach, especially when performed by the Canadian master Gould. (And they're into it.)
These are non-religious, non-verbal sermons on the order of the universe. This is the pinnacle of pure communication that has more to say than all the news media and most of the books written. Okay, maybe that's going a bit over the top . . . but not by much.
++++++++++++++++++++++++++++++++++++++++++Also
Partitas 4 5 & 6 - 70th Anniversary Edition [Limited Edition, Original recording remastered]
Glenn Gould (Artist), Bach (Artist) | Format: Audio CD
4.7 out of 5 stars See all reviews (6 customer reviews) | Like (3)
+++++++++++++++++++++++++++++++
Radu Lupu:
Brahms: Two Rhapsodies, Op. 79; Piano Pieces, Opp. 117-119
Johannes Brahms (Composer), Radu Lupu (Performer) | Format: Audio CD
4.6 out of 5 stars See all reviews (19 customer reviews) | Like (1)
By
Samuel (New Haven, CT) - See all my reviews
Amazon Verified Purchase(What's this?)
This review is from: Brahms: Two Rhapsodies, Op. 79; Piano Pieces, Opp. 117-119 (Audio CD)
Lupu's playing instantly strikes you as unassuming and purely musical. There is no virtuosity for its own sake, rather one detects a profound sensitivity (heard in the pianists incredible pianissimo and phrasing) and respect for the music.
So many of the Brahms Intermezzi, especially from Opus. 117, require voicing (bringing out one note in a chord above the others), and Lupu is nothing short of amazing in the way he brings out melodies and gives the music a deserving sense of depth and texture.
I highly recomend this cd. Overall, Lupu's playing does full justice to Brahms' complex music. It is nuanced, sensitive, and extremely profound. I confess I have a bias towards people like Lupu. While I like the showy pianists as well, they are often ill suited to play composers like Brahms. But Lupu seems perfectly at home with him and all the unique difficulties his music contains.
A little imperfection in sound quality is nothing compared to the quality of the music you will get on this cd.
Some have called Lupu a poet, or even an holy man of the piano, and I must agree with them. If you hear this cd, you probably will too. This cd is a must if you love music.
+++++++++++++++++++++++++++++++
Solomon:
Beethoven: Piano Sonatas Opp. 90, 101, 106, 109, 110 & 111 [Import]
Ludwig van Beethoven (Artist), Solomon (Artist) | Format: Audio CD
y
B. Fulton "pherber" (The Great American West) -
This review is from: Beethoven: Piano Sonatas Opp. 90, 101, 106, 109, 110 & 111 (Audio CD)
Maurizio Pollini may have nailed every nuance of this music to technical perfection in his late '70s recordings for Deutsche Grammophon, but only the late British pianist Solomon imbues these sonatas with transcendent vision. The honor of listening to music this fine is akin to holy communion with Beethoven himself. Not to be missed.
By
c-vert@juno.com (Virginia) - See all my reviews
This review is from: Beethoven: Piano Sonatas Opp. 90, 101, 106, 109, 110 & 111 (Audio CD)
For those looking for the "Last Word" in solo piano repertoire: LvB's final half-dozen sonatas on his favorite instrument, recorded by British pianist Solomon (nee Cutner) between 1951-1956, just before his own career-ending stroke. To those who think Sviatoslav Richter's "TEMPEST" and Rudolf Serkin's "MOONLIGHT" and "PATHETIQUE" are definitive: so too are these. With only minor sound issues (a small edit blip towards the end of Sonata No.31 and Mono sound in general) these performances transfix more than all the others (Brendel, Kempff, Pollini, Hess) I have experienced. Listen to No.32 and... The End.
+++++++++++++++++++++++++++++++++++++++++
Pollini:
Chopin: Etudes
Frederic Chopin (Composer), Maurizio Pollini (Performer) | Format: Audio CD
By
T. Cheng "tim69c" (Diamond Bar, CA USA) - See all my reviews
(REAL NAME)
This review is from: Chopin: Etudes (Audio CD)
In reading these various reviews, let's say that everyone has their own opinion. However, whether one sees Pollini's Chopin as cold and indifferent (someone calls him a "calculator") or as one of the greats of this generation, I simply invite you to listen. I will give you a specific, towards the end of the powerful Etude nos 12 op.10, starting at the 2'12" mark, listen to the way Pollini handles the left hand arpeggios, the accompaniment. With anyone else, this is just that, but with Pollini, this becomes- for me- a meditative, masterpiece of stillness, juxtaposed with the thunder that flashes at at 2'30". No one else plays it like this.
Another aspect of Pollini's unique style of interpretation can be heard in the nos7 op.25, the greatest of the Etudes. This is usually played as an overtly Romantic, love-sick tune, done to the point of smaltz. Pollini plays the notes as Chopin writes them. No more, no less.
Is Romantic music such as Chopin's to be interpreted from performer to performer, from generation to generation as the reviewer below says? I think not. If Chopin wanted something to be played with extra sadness or expression, he would have indicated so. George Sand documentated famously how Frederick would tear his hair out getting a single bar of music just right, taking days behind a closed door. A single bar!! The great composers were aboslutely meticulous in their dynamic markings, they knew what they were doing... let's hear the music as they meant them to be heard.
This is one of the greatest Chopin recordings in the repertoire.
+++++++++++++++++++++++++++++++++++++++++++
Klien:
Mozart: Piano Sonatas, Vol. 1
Wolfgang Amadeus Mozart (Composer), Walter Klien (Performer) | Format: Audio CD
This is one of the great recordings of the century, April 10, 2000
By
Manuel Reguillo-Cruz - See all my reviews
This review is from: Mozart: Piano Sonatas, Vol. 1 (Audio CD)
I share the enthusiasm of the two reviewers in this page in the sense that I, too, think this is Mozart in its most glorious state.
In a musical world so flooded with Argerichs and Brendels, the late Walter Klien shines with sovereign light in this so very intimate world of Mozart piano solo music.
I have listened to the two volumes time and again and I just can't get over how delicate, suave, liquid and natural Klien's touch is. Although Uchida or de Larrocha (considered by many as Mozart specialists and supreme exponents of this music) have their own merit, no doubt Walter Klien will remain unrivaled, for this is truly ineffable art.
Artists like Klien give me back my confidence in true artists.
Mozart: Piano Sonatas Vol 2 / Walter Klien
Wolfgang Amadeus Mozart (Composer), Walter Klien (Performer) | Format: Audio CD
The Best Bargain in Mozart on Disc!, January 26, 2000
By A Customer
This review is from: Mozart: Piano Sonatas Vol 2 / Walter Klien (Audio CD)
There are a number of sets of the Mozart sonatas which are so fine as to be considered "classics" in their own right; Uchida's lovely version on Philips being one that springs to mind; there are a few others of equal stature. But none surpasses and very few ever come near to equalling this exquisite set. Walter Klien is not as well known as Brendel or Kovacevich or their peers but his realization of Mozart's sonatas is, in a word, perfection. And this second volume is every bit the equal of the first. From the haunting loveliness and uncluttered simplicity of the Andante grazioso of the A Major Sonata, K. 331, to its justly famous (and really fun!) "Alla Turca" rondo finale, and all the other wonderful pieces that follow, listening to this recording is a blissful and humanizing experience-- it's music that sinks deep into one's soul, that feeds it, and which becomes only more wonderful with repeated listening. Klien's playing is flawless: perfectly modulated, embracing sentiment without a trace of sentimentality, able to be pretty without preciosity; and the Vox recording is splendid, the piano tone rich, with perfect balance between deep bass and bright, clean treble. And the piece-de-resistance is that it comes at the very lowest price: you can buy both volumes for less than a single volume of the other sets and get what is arguably the finest recording in the bargain -- with change left over! An essential part of every music lover's collection, and one that will bring hours of unalloyed fulfilment. The Penguin Guide awarded the Klien set a Rosette (its "academy award") and I heartily agree!
One of the best solo-piano CDs I have heard in years. I started a Stereophile column with it, but the link below is to amazon.com, where there are brief sound clips. Try Track 6 first.
ATB,
JM
I did buy this cd on your recomendation but was disapointed
as I have many other cd's/sacd's where the sound is more real
Piano sound can be system dependant.
I took it to another system with YG loudspeakers and same result
good, but not superb.
Sure it is still an excellent recording but within my system
I've heard better. I also found the performance lackluster.
We obviously have different ideas.
Moon and Sand (Track 2) is a good place to start.
a
Read the posted reviews.
Debussy played by Kocsis, Ravel by Perlemuter; Waldstein, Moonlight, Hammerklavier..., Beethoven sonatas by Gilels; some Chopin, played by Ashkenazy or Arrau; Liszt´s "Years of Pilgrimage" by Berman; Mussorgsky´s "Pictures at an exhibition" by Berman (Richter´s Sofia recital is better played, but the recording doesn´t make justice...)-and there´s a DGG CD with both the piano and the orchestral (Ravel´s orchestration) in it- ..., and, if you think the piano falls short in its tonal palette, simply listen to Pletnev playing his own piano transcriptions of Tchaikovsky´s ballets, or of Prokofiev´s "Romeo and Julia" (four hands, with Argerich)...
Enjoy your ride!
Some new stuff here I have never heard...not unusual for me.
"You don't need to be a Weatherman to know which way the wind blows"
when I was young and wanted everything big and bombastic (perhaps). These are readily available on CD.
Schumann's Fantasy in C - Brendel on Philips
Liszt's Annees De Perlerinage - Lortie on Chandos
Debussy Preludes by Bavouzet on Chandos
Beethoven's Piano Sonata #29 by Giles on DG (for performance) or for availability and a bit more laid back performance Paul Lewis on Hyperion.
If you are good enough, you can play two (or even more if you're really
good) tunes at once - one with each hand!
If you are interested in some non-classical recordings, I recommend
anything on the Pablo label by Art Tatum, any of Fats Waller's mid 30s
recordings on RCA/Bluebird, Bud Powell's Blue Note recordings, and
any of Tommy Flannagan's or Hank Jones' solo or trio recordings. And
there's always Earl Hines, of course ... Any of these will give you a
good idea of just how complex the piano can be. Then you need to start
on guitar ...
Nt
"You don't need to be a Weatherman to know which way the wind blows"
dfs
.
If a thing's worth doing, it's worth doing well
(Proverb)
Richter Pictures at an Exhibition This might be helpful since its a piece you have heard in its other incarnations.
Any great recording of the Moonlight Sonata
You can start almost anywhere and find something interesting. If all you did was go through Beethoven's sonatas, you will find a lifetimes worth of material to examine. I don't quite know what you mean about one note at a time, because the piano is perhaps the solo instrument that most allows the performer the ability to play multiple lines of music, harmonize, simultaneously sound chords, etc. But, even when very simple music is being played MOSTLY one note at a time, amazing things can be done with the piano--a good example would be Erik Satie's "Gymnopedies" and "Gnossiennes." For these, I like Reinhardt De Leeuw and Aldo Ciccolini.
Chopin would be a good place to start exploring piano music--he seemed to be in complete command of all of the technical and expressive possibilities of the instrument. I would start with the complete preludes and etudes. There are plenty of choice recordings. I know a lot of people will disagree here, but, I would recommend looking for recordings by Pollini. For music that, when performed by a master, will WOW you-examine Liszt. The recommendation of Nojima, given below is interesting. I LOVE that recording for his performance of the La Campanella--you can hardly expect to hear a better example of amazing technical feat in the service of music making.
If you are looking for something different and somewhat obscure, look for the music of Alkan. He is, arguably, the match for Liszt, but is hardly known. I would start with his Concerto for Solo Piano. This is a technical tour de force, and I would recommend a peerless technician like Marc Hamelin. Alkan also wrote some incredible music for duo piano as well.
Now, for something completely different--how about music for player piano? A composer named Conlon Nancarrow wrote music that could not be played by humans--it was played by old fashion player pianos (he punched holes in rolls of paper that controlled the key strikes).
.
Nojima Plays Liszt (Reference Recordings)
Angela Hewitt plays Ravel (Hyperion)
Excellent performances with fine recording. If the upper octaves sound too bright on these recordings, either your listening equipment is too bright or you simply don't like the sound of a piano.
My favorite piano CD is Horowitz playing Favorite Beethoven Sonatas, Moonlight, Appassionata, Pathetique, on CBS MK 34509. There was a Sony reissue. There is some tape hiss audible if played loud, but the piano playing is stunning, IMHO.
Horowitz also did some recordings of Scarlatti sonatas which show off his gentler side.
His Favorite Chopin CDs should be good, too. I have the second one whic contains his marvelous recording of Chopin's Sonata no. 2, the Funeral March Sonata.
He did some very fine later recordings on DG, but my favorites are still his CBS recordings (some reissued on Sony), even with a little tape hiss.
-----
"A fool and his money are soon parted." --- Thomas Tusser
The Favorite Beethoven Sonatas and "Celebrated Scarlatti Recordings" are some of my favorite solo piano recordings. I also like the Alicia de Larrocha recordings of the Mozart Sonatas (and a few other pieces). I believe there were 4 volumes - my favorite is vol 1 (with K 283, 331, 332, and 333).
In terms of accompanied piano, I'd go with:
Martha Argerich, Rachmaninoff Concerto no. 3 with Riccardo Chailly (coupled with the Tchaikovsky no.1)
and
Rudolph Serkin with Bernstein and the NYPO - Beethoven Concerto No. 5 (Emperor). A stunning performance and stunning recording (at least the Franklin Mint vinyl version is)
rlindsa
With 10 fingers the piano can play more than one note at the time!!
You can even have 2 or 3 pianos playing together.
Martha Argerich and friends in Lugano 2007 has some great example of it.
Especially the Ravel pieces. (Good sound too)
As far as sound a good piano is stunning, to my ears a good recording of piano or violin is the ultimate.
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