Indeed ! The two knew each other well, they went on field trips collecting folk music. Their music is often comparable, though Lyapunov (who was a mighty pianist) is often more virtuosic, veering towards Liszt an Balakirev where Lyadov was more inspired by Chopin, Schumann and Scriabin. Overall I find Lyadov the better composer, despite his laziness. But in this set of etudes, Lyapunov was light years ahead of him. I don't think anything else he wrote later measures up to it.
Oh wow ... I just love the sound of this piano, I am not familiar with the Gabo company ... it sounds rather like Bluthner and that was what I thought it was first of all until I found the description in your channel!!! I think it could be American made, but I think it sounds European especially in the treble, so I'm not entirely sure. I have actually played on Bluthner enough to get to know the distinct tone, so as soon as I heard the tone of the piano here I really thought it was a Bluthner!!! I am also not familiar with the Lyapunov set of etudes nor any of his piano music, but I have performed Liadov preludes in the past but mainly my Romantic repertoire consisted of Chopin, Schumann, Brahms, Liszt and Scriabin. Lyapunov is not really in the mainstream piano repertoire and I think his writing is sumptuous and astonishing, almost impressionistic in the language. It sorts of reminds me of early Scriabin and Leopold Godowski!!!
Thanks for your comment Rachel ! I've always loved the sound of my Gaveau too, but I was so exasperated by it going out of tune, and its wily keys working against me instead of for me, that I finally traded it for a digital Kawai. Believe it or not, it was like a breath of fresh air ! I had feared I would miss the Gaveau sorely but I haven't for one second. Oh, the joy of a instrument that is always perfectly in tune ! Lyapunov is a totally awesome and sadly underrated piano composer. What a pity that his magnum opus etudes are so insanely difficult that I can play only a couple of them convincingly. But Liadov is almost as great ! And his music as a rule is not nearly as hard to play (though it can also be very demanding at times). His Preludes are great, as you know, as are his Mazurkas. And I absolutely adore his Op.51 variations, do you know them ? These two composers should be just as frequently played as, say, Rachmaninov and Scriabin.
How did you come across the Gaveau piano? There don't seem to be any new pianos by them nowadays, I did have a look and they were a popular company in France. The tone of it is so balanced and orchestral, probably sharing the same characteristics of Bluthner like I mentioned before. I also just heard a new album of Faure nocturnes on an 1870s Gaveau piano and the tone of it is so suitable for that composer. Does your taste in pianos influence the sort of music you're playing, especially if you shift towards the more romantic territory where you need more depth in the treble and a specific sonority? I do like Yamaha pianos but am just a bit picky about brightness because the clarity in the treble might not suit repertoire with large chords, octaves or places that ask for a certain resonnnance at a softer dynamic. I just love how Faure's pieces for example can just transmit a continuous pallet of colour. I do love the pianos from the early 20th century because every register sounds individual from one another which allows the pianist to shift around with different nuances. I think your Gaveau will sound its full glory when it gets restored one day and goes to a pianist who really treasures it!!!
Hi Rachel, I met the Gaveau in the early seventies in the vast basement of a piano shop I frequented. I played many instruments there but always came back to the Gaveau. Eventually I bought it (in 1974) and played on it until end 2020. I always loved its timbre, especially in the bass, and had never thought I would ever get rid of it. But it just wouldn't cooperate... Despite revisions, the action remained sluggish and prone to problems, and it kept going out of tune, sometimes not even a week after the tuner had been. It was finally enough... I traded it in for a hybrid instrument and have not regretted it for a second yet. I find that I can play so much better now, not being hampered by the clunky old wood. Perhaps the sound is a little less distinctive, but I find this a small price to pay. My Kawai Novus NV10 ahs different piano sounds, and each have different mores, so I can play around a bit (which I don't do too often, being always more concerned with the music itself than with the fine details of the piano sound).
Nice playing, Chris. Like Liadov, another great talent from this period!
Indeed ! The two knew each other well, they went on field trips collecting folk music. Their music is often comparable, though Lyapunov (who was a mighty pianist) is often more virtuosic, veering towards Liszt an Balakirev where Lyadov was more inspired by Chopin, Schumann and Scriabin. Overall I find Lyadov the better composer, despite his laziness. But in this set of etudes, Lyapunov was light years ahead of him. I don't think anything else he wrote later measures up to it.
Nice. I see the great man surveying events from the wall behind!
Thanks ! I like to think that a composers' watchful eye helps things along ;-)
Oh wow ... I just love the sound of this piano, I am not familiar with the Gabo company ... it sounds rather like Bluthner and that was what I thought it was first of all until I found the description in your channel!!! I think it could be American made, but I think it sounds European especially in the treble, so I'm not entirely sure. I have actually played on Bluthner enough to get to know the distinct tone, so as soon as I heard the tone of the piano here I really thought it was a Bluthner!!! I am also not familiar with the Lyapunov set of etudes nor any of his piano music, but I have performed Liadov preludes in the past but mainly my Romantic repertoire consisted of Chopin, Schumann, Brahms, Liszt and Scriabin. Lyapunov is not really in the mainstream piano repertoire and I think his writing is sumptuous and astonishing, almost impressionistic in the language. It sorts of reminds me of early Scriabin and Leopold Godowski!!!
Thanks for your comment Rachel ! I've always loved the sound of my Gaveau too, but I was so exasperated by it going out of tune, and its wily keys working against me instead of for me, that I finally traded it for a digital Kawai. Believe it or not, it was like a breath of fresh air ! I had feared I would miss the Gaveau sorely but I haven't for one second. Oh, the joy of a instrument that is always perfectly in tune !
Lyapunov is a totally awesome and sadly underrated piano composer. What a pity that his magnum opus etudes are so insanely difficult that I can play only a couple of them convincingly. But Liadov is almost as great ! And his music as a rule is not nearly as hard to play (though it can also be very demanding at times). His Preludes are great, as you know, as are his Mazurkas. And I absolutely adore his Op.51 variations, do you know them ? These two composers should be just as frequently played as, say, Rachmaninov and Scriabin.
How did you come across the Gaveau piano? There don't seem to be any new pianos by them nowadays, I did have a look and they were a popular company in France. The tone of it is so balanced and orchestral, probably sharing the same characteristics of Bluthner like I mentioned before. I also just heard a new album of Faure nocturnes on an 1870s Gaveau piano and the tone of it is so suitable for that composer. Does your taste in pianos influence the sort of music you're playing, especially if you shift towards the more romantic territory where you need more depth in the treble and a specific sonority? I do like Yamaha pianos but am just a bit picky about brightness because the clarity in the treble might not suit repertoire with large chords, octaves or places that ask for a certain resonnnance at a softer dynamic. I just love how Faure's pieces for example can just transmit a continuous pallet of colour. I do love the pianos from the early 20th century because every register sounds individual from one another which allows the pianist to shift around with different nuances. I think your Gaveau will sound its full glory when it gets restored one day and goes to a pianist who really treasures it!!!
Hi Rachel, I met the Gaveau in the early seventies in the vast basement of a piano shop I frequented. I played many instruments there but always came back to the Gaveau. Eventually I bought it (in 1974) and played on it until end 2020. I always loved its timbre, especially in the bass, and had never thought I would ever get rid of it. But it just wouldn't cooperate... Despite revisions, the action remained sluggish and prone to problems, and it kept going out of tune, sometimes not even a week after the tuner had been. It was finally enough... I traded it in for a hybrid instrument and have not regretted it for a second yet. I find that I can play so much better now, not being hampered by the clunky old wood. Perhaps the sound is a little less distinctive, but I find this a small price to pay. My Kawai Novus NV10 ahs different piano sounds, and each have different mores, so I can play around a bit (which I don't do too often, being always more concerned with the music itself than with the fine details of the piano sound).