Indeed the piece is reminiscent of a calming, impressionistic pastoral; I suspect the similarities between unheard folk music and the impressionistic idiom (mostly in their use of modes) may be quite extensive.
As for your interesting performance, floaty and dreamy sounds like the best way to describe it. You do very well in shaping the melody on the small scale, but I would suggest that you make some tiered dynamics on a large scale (that tender episode from 0:53 to 1:02 seems to warrant a call to attention as such, a small diminuendo and crescendo).
Of course, in these days he cannot claim not to know those composers, which makes it all more difficult.
The composer does indicate dynamics in the passage you mention, but only from mp to p and back. Did you mean more contrast than that? I could do it, I suppose, but that would no longer be what the composer wrote, but who says the composer is the best judge of his own work?
On the point of separating the voices, your suggestion, it seems to me, would help to separate the phrases within a voice, but not really to distinguish the voices from each other. I think there are limits to what it is possible to do in this respect, given the way the piece is written. I'm beginning to suspect that the composer didn't really intend the two voices to be independent, but to make sense only when put together.
Yes, the voices complement each other and make no sense on their own, but still, the slight stress helps to call attention to the separate entrances of these.
This piece reminds me more of Satie than of Bax or Ireland. Pretty weak stuff but worth a hearing I suppose. Nothing much to nag about the performance, it's a straightforward rendition of a straightforward piece (I did not listen to the first version).
A word on the ID3 tags:
- in e flat - is that E flat major or minor ?
instead of http://www.pianosociety.com
- Composer tag was missing
Corrected these but please take heed in future. I'll put this on the site but so far don't see a reason to add a composer page.
Thank you, Chris. This might not be a masterpiece and I do not think it is meant to be, but we cannot spend all our time listening to the great masters. After all, you only see the mountains if you have the valleys in between. This particular one at first reminded me of one ofg the Gymnopédies, but soon the impression faded.
I am sorry about the tags. My latest submissions have all been in this style and no one protested, so I had assumed I was been a good boy and all that. When writing scales I differntiate between capital and not: E flat means E flat major
and e flat means e flat minor. Is than not the convention?