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The Radio 3 Boards > Collectors Resource > The CD Exchange > Eruanto's CD
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Author Topic: Eruanto's CD  (Read 498 times)
Eruanto
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« on: 12:54:35, 17-06-2008 »
My recording made yesterday. Everything's a bit quiet, I put them all through Audacity first, but it hasn't made much difference. If anyone sees an artist called "Rach E", that is my computer's whim.

Track list:

1      Ireland: Chelsea Reach       6:12         A few fluffs
2      Ireland: Ragamuffin            1:58         Again, could be better

Rachmaninoff: Etudes-Tableaux

3     Op. 33 no. 7 Allegro con fuoco   1:49        A splash-fest throughout! Not recommended, but perhaps for the                                                                                                 last few seconds
4     Op. 33 no. 8 Moderato              4:25
5     Op. 33 no. 9  Grave                 2:50       So near, and yet...

Brahms: Three Intermezzi Op. 117                  Relatively pleased with these, but not the best I've ever done.

6     i Andante moderato                 5:25
7     ii Andante non troppo              4:36
8     iii Andante con moto                6:12

Please choose which you would like - if any -  and PM me for sendspace links, I'd rather they weren't open to the world.
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"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
Sydney Grew
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« Reply #1 on: 11:57:57, 18-06-2008 »
How thrilling it is to hear those Brahms Opus 117 Intermezzi played by a talented youth! Number two is especially beautiful. Some time ago a discussion here touched upon the paucity of half-diminished sevenths in Brahms. Nevertheless there is a superb example in the second half of bar forty-seven of the second Intermezzo (at 2 minutes 11 seconds) which is excellently brought out by our young performer.
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Daniel
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« Reply #2 on: 12:59:00, 18-06-2008 »
Eru, I really liked these performances, thanks.

I felt, particularly in the Brahms, that you said what you wanted to say so clearly and unaffectedly, and it comes across as deeply felt and very honest, and I hope that last adjective doesn't sound too queasy because it is really what struck me about your playing.

You certainly seem to like the dark, brooding qualities in the music and it's a real pleasure to hear you explore them. I'd like to hear more.
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thompson1780
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« Reply #3 on: 23:25:20, 19-06-2008 »
Quite Brilliant!

Something different every time with these Brahms.  I like the Rach a lot more than in Steinway Hall too.

Thanks, eru!

Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
Eruanto
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« Reply #4 on: 00:05:56, 20-06-2008 »
Quote from: Daniel on 12:59:00, 18-06-2008
...and very honest, and I hope that last adjective doesn't sound too queasy because it is really what struck me about your playing.

You certainly seem to like the dark, brooding qualities in the music...

Ah, my inner voice... Not queasy at all, that's not the first time the word's been used.


Quote from: thompson1780 on 23:25:20, 19-06-2008
I like the Rach a lot more than in Steinway Hall too.

Lucky you escaped no. 7 this time though! Even with the fluffs?

EDIT I wouldn't have minded if you had expounded your problems with the Steinway Hall concert in your review, you know.

Smiley
« Last Edit: 14:12:24, 20-06-2008 by Eruanto » Logged
"It is not our part to master all the tides of the world, but to do what is in us for the succour of those years wherein we are set"
martle
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« Reply #5 on: 20:00:45, 23-06-2008 »
I've now listened to eru's show too. Totally agreed that it's a lovely performance, subtle and (when required) passionate. I'll come down on the side of those who put the Brahms at the top of the list - I hadn't heard those pieces for a number of years, and it was like hearing them for the first time, fresh, utterly honest and very perceptive playing. But I'd put a marker down for the Rachers too. I've got a feeling we may be seeing a great Rachmaninov interpreter in the making...

One of the things I liked best overall was eru's fearlessness in bringing out the bass line, sometimes quite forcibly, even when it wasn't intended to be foregrounded. It's a simple thing, but in composers like Brahms and Rach it's crucial to hear it clearly as it so often drives the harmony (as a 'line', I mean, rather than as the carrier of whatever vertical harmony it underpins). That's good, good, good in my book.
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