Hanysz wrote:


Let´s say, that´s my interpretation this time and, of course, like always I have made some thoughts about it. But people who know me, know, that I´m able to do a complete other interpretation next time. The problem is, we can´t say "it has to be like this or that", all suggestions - like yours, that every second respective fourth note of the two- and four-eights figures from bar 9 on shouldn´t be too short/staccato - is a matter of taste and interpretation. May be next time I will play these figures with less articulation and more pedal (such things also depend a bit on my daily mood sometimes). I generally think, it is an important sign and duty in our new epoque/century to be very very open for all new possiblities...



Yes, we have thought about that Hindemith-sonata, and I think, one nice day we will play it, but first we have planed to play Lutoslawski "5 Dance Preludes" (I have ordered the score today ) from 1954 (I believe) and one more jazz-piece, but after that we also want to do one of the Brahms-sonatas. (I already have played the first movement of both.)

Thank you for your interest and your thoughts. Feel free to give more inspirations for my next interpretation of the Poulenc-sonata, if you like! For me it is one of the sense of this forum to give and to receive inspirations.

Hi Andreas,

I sampled all three of your recordings. I can tell you and your duet partner have done some good work practicing as they sound fantastic.

I personally thought the Romanza was a little more "tristimente" (If I'm correct in espanol translates to "mournfully") compared to the 1. Allegretto Tristimente, kind of confused why Poulenc made that choice in labeling.

About the recording sounding boxy, I think I understand what he means, that the acoustics were somewhat dry, recorded in a small space (albeit bigger than a common box )

Personally I liked the very little reverb. One thing I like to hear in studio recordings is minimal reverb as to hear a piece played with lots of reverb I would be privy to attend a concert in a concert hall where a member of an audience would hear beat one of a measure lingering, for example, when the pianist is ahead, articulating the 3rd and 4th. I'm getting off topic

I missed hearing Poulenc in my music literature class last semester, though I read of him as a composer who "is often refused to be taken seriously" as per Harold Schoenberg's Lives of the Great Composers so I thank you for this introduction. I would be happy listening to his piano music but the textures of the clarinet blending with the piano come together very well in yours and Mr. Schonfelder's performances respectively

~Riley

Then you should look for recordings of the Gloria for choir and orchestra, and the sextet for piano and woodwind. I think you'll enjoy both of those works.

Pianoman342 wrote:


Thank you for listening and your kind comment!



Reverb is always a matter of personal taste. I was experimenting a bit around with several settings of reverberation, but didn´t come to an effect, which satisfies me personally until now. I will do some further experiments, but if I don´t find a setting, which I like more than this version I will let it like it is.



I´m actually preparing a solo work for piano by Poulenc...

Finally I get down to writing! I have enjoyed your performance of the sonata, which I watched on YouTube. If I may dare, I would make on small little suggestion: maybe in your next video you might move your colleague's music stand a little, so it is inluded whole in the picture? This is only a visual thing, of course, and has no influence on the music, which, as I mentioned, is very good.

Richard66 wrote:


Yes, of course, that´s a good idea!



Thank you for listening and your kind comment, Richard.