Pianiztz who are GREAT in da ztudeio but zheeyat live or Vice Verza

Who can u think with da widezt dizcrepenciez between da quality ov deir live playin vz. ztudio playin?

Zum peniztz thrive live and zound ztale in ztudio. And Zum thrive in da ztudio but are not az cunziztent live.

Bad ones :wink:

It’s rare, but I have to say that one who easily springs to mind now is Rubackyte. I don’t like her youtube offerings one bit, but her studio recordings I’m slowly wading through thanks to this forum have been very good so far.

It’s too harsh to say sheeyat but I find I never listen to Sofronitsky in studio (not unless the studio rec is all that exists). Live however he took flight – all charge & flux & event. Somehow he knew how to instill or manifest fully realised emotions & tragedies in his performances.

Same, but with the exception of his final 1960 recs which I really like.

Da SOFTPORNO 1952 studio kreis is a notable exception

Scratch this. I just heard her do one of the most worthwhile Prok-2s in years!

Rezpec da fatman. Mrs. Roobatskeeteh is starting to look like the find of the year for me.

I fuckd up da title ov diz thread becuz wut I bazically meant to dizcuzz wuznt peniztz who are outright zheeyat but onez who zimply thrive mo and lezz in either zetting

Ginzburg is MUCH better live than in studio. I’ve found there’s a wide gulf of admiration in those who heard Rubinstein in person, as opposed to his studio recordings.


Tbh I’d much rather hear da :zif: live than studio recs. Something is lost in many of the studio recs, they’re often still excellent, but just sanitised excellent.


She played a prok 2? I’d like to hear :robot::ski: in this. She has a very fluid pulse and it takes me a glass of wine or four to really enjoy this playing though I tend to like her unusual and often successful interpretive view.

Ziff’s recs were also edited to the extreme - and often horribly so by the EMI mofos.

Anyway I think we’ve turned this thread around. The original question was which pianists are better in the studio than live. I think the reverse is true for the vast majority of musicians, both past and present, but some names which spring to mind I think were particularly good at making studio recordings are Zimerman, Hough, Kissin and Feinberg. Can’t say about Feinberg, but the first three have at least been more uneven in concert.

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No, sorry, finger slip - Prok-3. I heard it on Deezer, but I can’t download from there anymore since the deezloader sheeyat has stopped letting me in.

What I like about her is that she plays and thinks like an artist. That’s a rare breed of musician, and maybe the one which gets me most excited nowadays. As I wrote here elsewhere I don’t think she’s a “great” artist, but the music responds to her and she often reveals things I have never heard or thought about in the works before. As a Moscow Conservatory graduate the piano playing itself is also super strong. At least in the 90s she seems to have had tech to do just about whatever she wanted.

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Tru, there are harshly not that many live Feinberg recs. If only da rest of dat 1948 rectal surfaces

At least released.

The things they keep there…

I did a database search of da Gostelradiofond when it was still up, no new Feinberg or Ginzburg there, alas

U sure? I’m not aware of any more Feinberg either, but I’m almost sure a friend bought out many hours worth of unreleased live recordings with Ginzburg about 12 years back. If he shared any with me it wasn’t much, but I do think I have a list of the contents.

Wasn’t it all released as part of the Ginzburg 6CD set?

Maybe I’m wrong, if you find the list - please post it, daddy XSDC

Hm, good point. If those CDs were released after 2006 it could very well have been (and he could very well have supplied the source material - I remember he said he didn’t want to make copies since a commercial release was planned, but my memory is that none ever materialized).

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See whut you can find, I assume pretty much all those recs have been released except for a few bits n pieces from Kiev, like da live Totentanz

I was always kind of underwhelmed by Rubinstein’s chopin until I heard his Moscow 25/1, which is now one of my favorite Chopin performances.