Have been trawling the web for good pianists, in the hope to solve my long running technical annoyances in trying to play (a not very hard!) Chopin Nocturne (C-sharp minor, Op. Post). Not much practical help watching the greats for a duffer like me, I’m afraid, but certainly is enjoyable, as hopping through the wormhole of YouTube took me to a lot of wonderful piano playing.
As a result, here are a couple of treasures from that nosing around: two pianists playing a transcription of Gluck’s “Dance of the Blessed Spirits” from the opera “Orfeo ed Euridice.” First, the great Brazilian pianist Guiomar Novaes.
Novaes could play a melody in a way that made it a living sinuous thing, winding in and out of the other musical material in a 3-D way. (I first discovered her ability to put this spin on melody via a really old cassette recording of the Chopin Nocturnes of hers I had. I got it at a drug store in Urbana-Champaign, IL, in 1989. Didn’t recognize her name, and the VOX label looked pretty sketchy. But it was only a quarter, I think.) It floored me–one of those cases where you hear something unexpected and you just have to listen over and over and over again, changed how I thought about what the piano could do. It actually could sing, that wasn’t just a piece of piano teacher rhetoric. I recall making the friend I was staying with drive me around in his Honda to listen to it in the car, as he didn’t have a cassette player at home and I wanted to hear it on something other than my Walkman. (For you kinder, that was an ancient predecessor to the i-thingie).
The next take on this is a young pianist, Yuja Wang.
Wang’s way with the melody is also restrained yet powerful; she’s able to pull back to a whisper (in contrast to a lot of young pianists who don’t actually play the “piano-forte,” but rather the “forte-forte” or maybe the “forte-fortissimo”). And her seemingly stress-free finger technique is just astonishing.
I never heard Novaes in person. But I have heard Wang live twice; once in Boston and once in DC. Worth hearing if you are a piano lover.
A bit about Gluck and that extraordinary melody: Gluck was an 18th century German composer, born in the era of Bach and Handel, but dying when Beethoven was a teenager. His operas (on the mythical subjects typical of his era) aimed to reform the repetitive and artificial formats then used, but, ironically, he was regarded as pretty old-fashioned in the 19th century (except by Berlioz).
That said, his melodies never went out of fashion and many arrangements were made for amateur or professional use. Now fully staged performances of his operas are no longer rare (although not exactly staples either). There was an Orfeo ed Euridice at New England Conservatory I caught last year. Radiant and antique in one moment, with flashes of desperate Verdi-like fire the next. It definitely was not a museum piece.