From: roger@phoenix.Princeton.EDU (Roger Lustig)
Subject: Re: Complete Set of LvB Piano Sonatas(wrong notes)
Originator: news@ernie.Princeton.EDU
Organization: Princeton University
Date: Fri, 24 Jul 1992 07:19:42 GMT

In article <13075.2a6ef60c@ohstpy.mps.ohio-state.edu> 
egras@ohstpy.mps.ohio-state.edu writes:

>> Hear hear.  If your highest priorities for Beethoven performance are
>> the fewest wrong notes, the steadiest tempos, and the best recorded
>> sound, then Schnabel is not for you.  But some of us have other
>> priorities....

>> If you are choosing between integral sets of the Beethoven sonatas, I
>> would recommend the Schnabel as your first set, especially considering
>> the price.  Modern tape-splicing and competitions, which emphasize
>> technical perfection, have conditioned us to overreact to wrong notes;
>> and one's ear can adjust to 1930s recordings, as one can learn to
>> enjoy black-and-white movies.  Listen to Schnabel's recording of the
>> last five sonatas if you want to understand why many regard him as the
>> finest Beethoven pianist of the century.

>	I really don't understand this tolerance for wrong notes and uneven
>tempos (I am not talking about a little rubato used).   

It has a lot to do with respect for one of the greatest thinkers and
most talented musicians ever to perform these pieces, who put his
thoughts on shellac after the prime of his technique (he was not always
healthy in his later years), but still let us hear the music.  (He also
had the decency to wait until recording technology was good enough to
let us hear...)

>When do you agree that there are too many wrong notes?  

When they interfere with our appreciation of the music.

>Maybe two versions of the same piece have the
>same number of wrong notes, but one of the version's notes are "more wrong"
>than the other's.  When can you no longer tolerate it?

See above.  Don't confuse the notes with the music -- they're only part
of it.

>	It seems to me that once a performer decides to record a piece, then
>he has agreed to be up to the challenge of playing it correctly. 

You are misinformed, to put it bluntly.

Nowadays, performers can record a piece in hundreds of small takes which
are then spliced together.  Many have never made it through the piece
even in rehearsal without some wrong notes.  

Schnabel did not have this luxury, nor did anyone expect him to.  He had
afine technique -- but it wasn't the mechanical marvel that some people
confuse with music.

> I, for one, believe that my ear shouldn't have to adjust to wrong notes.  

So use your brain instead.  It will accomodate them just fine, if it's
listening to the music.

>An excellant
>recording consists of a pleasable interpretation of the notes in the piece and
>none of these wrong notes.

"Pleasable"?  

An excellent recording is one that contains good music performed well.
That doesn't mean 100% right notes; of course, it doesn't mean one makes
great whopping gaffes, either.  Can you name ANY recordings of difficult
pieces that don't have a few wrong notes?  If so, I assure you they were
spliced to the gills.  And are probably far less exciting for it.

Roger

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