The test here, however, is for YOU to count how many wrong notes/misreadings you can hear in the performance (a score to hand may assist, although most of them are obvious to people with normal ears - unlike our present performer). See if your tally corresponds with mine...
We do not feel quite comfortable looking out for wrong notes as we fear the practice could quickly become addictive. But if the Member is proposing - is he? - here to set up a system which awards points to people who find them it could become a popular pastime.
We have now had time to sit down with Mr. Berben a little longer and have found four mistakes so far; there may well be more - quite apart from the pauses and abrupt changes of tempo which seem governed by neither rhyme nor reason! Perhaps it is something to do with his weak eyes as may be inspected here:
We do note though that he gives an average of four recitals a month so some one must enjoy his interpretations. Our findings are:
1) in bar 8, third beat, treble, first time around, A sharp is struck where G sharp is written
2) in bar 37, first beat, bass, D sharp is struck where E sharp is written
3) in bar 43, second beat, treble, A sharp demisemiquaver is omitted
4) in bar 45, second beat, treble, E natural is struck where E sharp is written
So how many are there actually Mr. Baziron? (And incidentally what does the Member mean by his enigmatic "not without its mistaken (or misunderstood) note pitches" in relation to something else?)
It should here be noted that - if we may quote Tovey again - "No other piece in the Forty-eight has so many interesting alternative readings," but we doubt this applies to the instances to which reference is made above.
On a quite different tack here is to-day's crackpot version of Bach's
C major Fugue from the first Book:
rapidshare or
sendspace.
