Piano Society
Free Classical Keyboard Recordings
It is currently Mon Nov 24, 2014 9:22 am

All times are UTC - 1 hour




Post new topic Reply to topic  [ 28 posts ] 
Author Message
 Post subject: At Last
PostPosted: Fri Sep 29, 2006 5:44 am 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
At last, got the piano tuned and had a productive recording day yesterday. Recorded 26 tracks in total. Sorry for spamming.... do not feel obliged to listen to them all. But any comments appreciated.

I did not plan on recording the two variation sets yet, but decided on the spur to give it a go. They came out not too bad except I fly squarely off the rails in the Liadov Presto finale. More warty than the rest though, and should be considered work-in-progress really.

Changed recording position once again, lid open, Edirol on a bench about one metre from the narrow end of the grand. Seems to sound more natural than earlier recordings though a problem here is that some very short and soft notes are not being caught by the mics.

Bach - Italian Concerto BWV 971
Bach - Prelude and Fugue in C sharp major, BVW 848, from WTC book I
Bach - Prelude and Fugue in F minor, BVW 857, from WTC book I
Bach - Prelude and Fugue in A major, BVW 864, from WTC book I
Bach - Prelude and Fugue in B major, BVW 892, from WTC book II
Brahms - Intermezzo Op.117 No.1
Brahms - Intermezzo Op.117 No.2
Brahms - Intermezzo Op.117 No.3
Chopin - Mazurka Op.41 No.1 in C sharp major
Chopin - Mazurka Op.41 No.2 in E minor
Chopin - Mazurka Op.41 No.3 in B major
Chopin - Mazurka Op.41 No.4 in A flat major
Chopin - Mazurka Op.56 No.1 in B major
Chopin - Mazurka Op.56 No.2 in C major
Chopin - Mazurka Op.56 No.3 in C minor
Chopin - Mazurka Op.59 No.1 in A minor
Chopin - Mazurka Op.59 No.2 in A flat major
Chopin - Mazurka Op.59 No.3 in F sharp minor
Chopin - Variations brillantes Op.12
Liadov - Mazurka Op.10 No.3
Liadov - Mazurka Op.11 No.3
Liadov - Mazurka Op.15 No.1
Liadov - Prelude Op.11 No.1
Liadov - Prelude Op.57 No.1
Liadov - Variations on a Polish Theme Op.51
Mozart - Allegro in G minor KV312/590d

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 10:14 am 
Offline

Joined: Mon Jun 19, 2006 5:29 am
Posts: 692
Location: Germany
Ok, I thought already, that there was a recording swell overdue from your side, considering your usual recording output. But THAT AMOUNT! :shock:

Up to now I listened to Bach WTC1 and Brahms, but will listen and try to give more or less qualified or useful or useless comments later on to the other pieces too.

Bach WTC1 f minor: prelude: confident playing, the only thing I don't like so much are your trills. I would prefer a calmer slower style, my old teacher prefers to play such trills as 32th, so that it is synchronized with the other notes. Fugue: pretty fast but theme comes out really well, also in left hand, GREAT! You phrase with right hand some passages, what sounds very well (such things are like the salt in the soup, shows that you don't play "only" the right notes but give phrasing), but you don't do that on same passages with left hand. Ok, ok, I know, I should not demand things I never could realize myself. Netherveless, if you don't know nothing else to improve on that fugue, this would be a possibility...

Bach WTC1 a major: prelude: congratulation, very well done, I like it much! fugue: bit too fast because the 16th runs did got a bit blurred. Some bars sound to me that you took sustain pedal to cover those crazy difficult parts...You did not rush, you can keep rhythm very well even in those complex situations, but in the 16th notes you lost confidence soundwise. For my taste, there is no need to play that fugue so fast, not only from the performance side, but too from the listener side.

Bach WTC1 c sharp major prelude: I think this prelude eludes to change voices according to the melody switch between right and left hand at least in the first half of the prelude. Could be played calmer too, a bit more evenly. Could have a bit more "bite", also faster, if possible. The fugue sounds very good to me! Did you had the score coded as d flat major (only 5 flats instead 7 sharps)? There is such score. Up to now I played only the prelude as it is on the site already, coded as c sharp since I did not knew about the easier d flat score. Not possible to play from score with 7 sharps for me, I need to play it from memory.

Brahms intermezzi: First, I like that 117/1 intermezzo much, and played it myself too. A very special piece, because the melody is not played with the right hand pinky, it is the inner voice of the 3 voiced right hand. I could imagine to voice the melody phrases more, and beginning and end considerably softer. And more dynamic changes for this highly romantic piece between the different parts. It is (for me) a lullaby, from the finest sort. Otherwise well played, also the other 2 intermezzi, probably more difficult? Have not had a look at the score. Netherveless, very good playing - not too fast, but also not too slow.

Overall, Brahms and Bach very well! It makes pleasure to listen to that pieces!

And your recording Edirol position seems to be very good as well. All recordings have some noise, but no need to put micros and mixer and the other stuff in the room, so that is the little disadvantage an Edirol has. Nevertheless good recording quality too!

_________________
Olaf Schmidt


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 10:47 am 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Thanks Olaf, as usual you are right in your observations. I am not too pleased about the c# prelude either, the shifting balance between LH and RH did not come out as well as I wanted. Yes I play the 7 sharps edition, the 5 flats is for wimps :wink: But I must confess it is hardgoing and some places in the fugue are still very precarious with all these double sharps.

The LH 16ths in the A major would not come out right whatever I tried (sometimes they do but not this time). It would be wise to take it slower but I like the lively fugues fast, and one must be prepared to take some risks in life ! There's always the good old pedal :wink:

Indeed in the F major the voicing is not yet optimal. This is one very difficult fugue, as are the others, some of the most demanding of the entire WTC. I am already glad to have gotten them off without too many horrible accidents.

I am delighted to hear it is a pleasurable listen - this is what counts, never mind all the flaws. Indeed this way of recording seems to produce the best sound so far, together with the Cooledit reverb (Light Concert Hall) and I think I'll stick to this setup from now on.

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 11:03 am 
Offline

Joined: Mon Jun 19, 2006 5:29 am
Posts: 692
Location: Germany
Bach Italian concerto: Wow, next heavy weigth. This concerto alone would give me food for months, and for you it is something among the other 25 pieces, unbelievable, really ...

Well, 1st movement: lively, fresh, and very good articulation in both hands. The very good overall impression is a bit dimmed (only a bit) because there are long trills over several bars in right hand which one can hear only in the beginning of the trill. The trills got somehow lost after some quarter notes.

2nd movement: Nice and calm played, and you never lost the groove regardless whether there are 16th or 32th or 64th notes. Have you swallowed a metronome, or what?

3rd movement: labeled with Presto and, that is how you played it. How can you learn that in that short time?

Regarding trills on all movements: it sounds to me so as if you would have deep respect before trills, also with right hand. During the trills the left hand accompaignement suffers so as if you would put all concentration in the trills and nothing else. This is the main thing technique wise what is worthful to improve, just my opinion - in order to get the trills more effortless, long and evenly if necessary.

Thank you for sharing that Bach concerto!

_________________
Olaf Schmidt


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 11:21 am 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Quote:
Well, 1st movement: lively, fresh, and very good articulation in both hands. The very good overall impression is a bit dimmed (only a bit) because there are long trills over several bars in right hand which one can hear only in the beginning of the trill. The trills got somehow lost after some quarter notes.

This is done out of necessity : otherwise I can not do the page turn which is right in the middle ! And I was too lazy to copy it all on a4 sheets and tape them together as I sometimes do. Pretty weak, uh ? Must be wonderful to have something memorized...

Quote:
2nd movement: Nice and calm played, and you never lost the groove regardless whether there are 16th or 32th or 64th notes. Have you swallowed a metronome, or what?

Yep. One of these Seiko thingy's. I tried a wooden Wittner once but it gave me stomach pain for days. :lol:

Quote:
3rd movement: labeled with Presto and, that is how you played it. How can you learn that in that short time?

I can't. Have played this for many many years, and been polishing it for at least 3 months now - as most of the other pieces recorded here.

Quote:
Regarding trills on all movements: it sounds to me so as if you would have deep respect before trills, also with right hand. During the trills the left hand accompaignement suffers so as if you would put all concentration in the trills and nothing else. This is the main thing technique wise what is worthful to improve, just my opinion - in order to get the trills more effortless, long and evenly if necessary.

Yeah, so true. I do blame it partly on the instrument though. It's just never going to be easy.

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 11:33 am 
Offline
Site Admin

Joined: Wed Jun 14, 2006 12:38 pm
Posts: 8529
Hi Techneut,
Mazurka 59/2 - You know I listened to this one first. I liked your tempo. I've been practicing this one a lot and this is my tempo too. I heard a few slips but that's probably because you recorded a hundred pieces in one day. The things I'm wondering about are:
1. A missed base note on the first beat of measure 8 and again in measure 27, the third beat. Maybe this was just plain old missed or is this in your edition?
2. Measure 55 - my score says right hand eighth notes E natural to G, then quarter note F. I think you played E-G-E.
3. The passage from meaures 81 -88 may have missed several notes, which is hard with all the accidentals everywhere.
4. meaures 91-93, my score shows a slur marking the phrase from the C in 91 to the A-flat in 93. You broke the phrase on this first beat of 93.
5. Measure 105 - you played a B-flat on the last note - my score shows a B-natural.
6. I see you played the the last 2 bars slightly detached. With the reverb on the recording it sounds good.

I hope I'm not nitpicking too much. Maybe these things I pointed out are issues of different editions?
Overall, I thoroughly enjoyed your playing this. Gives me motivation to keep working on it myself.
I'll listen to some of your other pieces later.


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 11:34 am 
Offline

Joined: Mon Jun 19, 2006 5:29 am
Posts: 692
Location: Germany
Quote:
Quote:
Well, 1st movement: lively, fresh, and very good articulation in both hands. The very good overall impression is a bit dimmed (only a bit) because there are long trills over several bars in right hand which one can hear only in the beginning of the trill. The trills got somehow lost after some quarter notes.

This is done out of necessity : otherwise I can not do the page turn which is right in the middle ! And I was too lazy to copy it all on a4 sheets and tape them together as I sometimes do. Pretty weak, uh ? Must be wonderful to have something memorized...


Hmmm, there are 2 XXL-trills short behind each other, every trill over 3 bars, but I think you never trilled that long.

Quote:
Quote:
Have you swallowed a metronome, or what?

Yep. One of these Seiko thingy's. I tried a wooden Wittner once but it gave me stomach pain for days. :lol:


Ah, that's the secret. I need something stronger. Some years later, if I need my first heart pace maker, I hope there are some for rhythmic idiots to give extra electro shocks, what can be adjusted according the necessary BPMs ...

Quote:
Quote:
3rd movement: labeled with Presto and, that is how you played it. How can you learn that in that short time?

I can't. Have played this for many many years, and been polishing it for at least 3 months now - as most of the other pieces recorded here.


Don't believe a word. This you say always, that you played the pieces since decades. According to that you must have played all that stuff already in the Kindergarten...

Quote:
Quote:
Regarding trills on all movements: it sounds to me so as if you would have deep respect before trills, also with right hand. During the trills the left hand accompaignement suffers so as if you would put all concentration in the trills and nothing else. This is the main thing technique wise what is worthful to improve, just my opinion - in order to get the trills more effortless, long and evenly if necessary.

Yeah, so true. I do blame it partly on the instrument though. It's just never going to be easy.


Maybe slower until it gets easy? However, trills on a heavy action is surely difficultier than on easy going actions.

_________________
Olaf Schmidt


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 12:07 pm 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Yo pianolady,
Looks like you've spotted most or all of the slips, and indeed there are some missing bass notes (could also be they were too wimpy to be picked up by the not overly sensitive Edirol mics).
I noticed all of this when listening back but I thought it was not bad enough to warrant a re-recording. Tell me if I'm being a lazy sod :D

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 12:17 pm 
Offline
Site Admin

Joined: Wed Jun 14, 2006 12:38 pm
Posts: 8529
Quote:
Tell me if I'm being a lazy sod


:lol: :lol: You weren't that lazy yesterday. I'm halfway through the mazurkas right now and thinking that you must have been drinking a lot of coffee during all of that recording. That, and sometimes the devil was inside you. :twisted:


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 12:23 pm 
Offline

Joined: Thu Jul 13, 2006 1:03 pm
Posts: 2388
Location: Obamanation, unfortunately...
pianolady wrote:
That, and sometimes the devil was inside you. :twisted:



Paganini lives!! :shock:

So how much did you sell your soul for? Muahaha!


On a serious note. I like the recordings. Too bad I can't pick them apart like you have mine. I think it is because you have good musician's ears. I just hear the music but I do not listen. :x


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 1:41 pm 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Quote:
You weren't that lazy yesterday. I'm halfway through the mazurkas right now and thinking that you must have been drinking a lot of coffee during all of that recording. That, and sometimes the devil was inside you. :twisted:

No coffee or anything. Actually I did not even leave the room for about 4 hours, and only got up to switch the Edirol off and on and change music. Seems like I was in a total trance. Yeah probably possessed by the devil, that would explain. Hehehe :wink:

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 7:43 pm 
Offline

Joined: Mon Jun 19, 2006 5:29 am
Posts: 692
Location: Germany
Just listened to the Chopin Mazurkas. The order in my Henle Urtext is other, your 41/1 is here 41/4, 41/2 is 41/1 and so on, only if someone is wondering.

The overall impression is that you play them rhytmically confident, and with a tempo what seems just right. The only passages what are really not very well in my opinion are in 56/1 the leggiero parts, here there are plenty of right hand notes missing.

Regarding dynamics, to me it sounds as if you play between mf and f more or less all the way. You phrase the melodies, yes, but I think you could make something more with the melodies if you would take back the overall volume on appropriate places for instance. On 59/1 there is a passage sotto voce, but I heard barely a piano, really. I don't think it is worthful to point of some weak notes or slips or wrong notes. At least there are no really distracting slips - but regarding dynamics you could give it a try to do more on Chopin, especially on the soft side of the dynamic range.

Your playing style fits very well with Bach, and I feel in your Bach recordings that you love Bach. On Chopin however, you could dig a bit deeper to bring out more of the amazing melodies or the surprising harmony switches and the sound poetry Chopin is famous for. This critique shall not overshadow your strong achievements in your recordings, both quantity AND quality wise!!!

_________________
Olaf Schmidt


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 7:57 pm 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Yes I am only just learning to play with more dynamic contrasts. It's still not enough, as you know the recording takes away much of it unless one really exaggerates. Also I have a problem playing really pianissimo because of the rather heavy/slow action. Hehe. I can always blame my old rickety instrument - no such luxury for you Olaf !

But - I think I (sub)consciously play Chopin's more gentle pieces (Mazurkas, Waltzes, Nocturnes) with less drama than more extrovert works. Compare with the Variations or the Polonaise, I think one should hear a difference.

Strange the Opp.41 are in different order. I would assume Henle is right and Peters is wrong. Be interesting to see how it is in the Paderewski.

Thanks again for all the comments.

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Fri Sep 29, 2006 8:18 pm 
Offline
Site Admin

Joined: Wed Jun 14, 2006 12:38 pm
Posts: 8529
Just listened to the Variations brillantes - Wow. Good job. I bet this is a killer piece. I've never tackled it myself, but it reminds me of the Andante Spianato/Grande Polonaise of which I'm very good at massacring. :)


Top
 Profile  
 
 Post subject:
PostPosted: Sat Sep 30, 2006 6:32 am 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Quote:
Just listened to the Variations brillantes - Wow. Good job. I bet this is a killer piece. I've never tackled it myself, but it reminds me of the Andante Spianato/Grande Polonaise of which I'm very good at massacring. :)

It has its moments, yes - especially the scherzando variation is real tricky. Overall it's not too bad though.

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Sat Sep 30, 2006 7:00 am 
Offline
Site Admin

Joined: Wed Jun 07, 2006 6:27 pm
Posts: 1842
Location: Sweden
Chris, it is for me unbelievable that you are able to produce so many recordings during such a short time! :D It will fill this day's kitchen work with music.

_________________
Pianist profile of Robert


Top
 Profile  
 
 Post subject:
PostPosted: Sat Sep 30, 2006 12:52 pm 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Ah, bollocks.... Anybody can produce tons of crap ! Though perhaps not quite in this tempo :lol:

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Sun Oct 01, 2006 7:46 pm 
Offline
Site Admin

Joined: Wed Jun 07, 2006 6:27 pm
Posts: 1842
Location: Sweden
Hehe!

Well, where to start? Bach and WTK?

The C-sharp major prelude is nicely played while I prefer it a little faster. It is actually one of the preludes where you can really speed things up. At least according to my view. But it definitely works in this tempo as well. The fugue can be played slower and perhaps even slower than you do. Well, just a couple of ideas of mine.

I play the the F-minor prelude quite a bit slower but that is very personal. When it comes to the trills, try playing them a bit slower, as you were even hesitating a bit and took a deeper breath. I think that will make them come out a bit smoother. The fugue is perfect in mood and tempo. You accent the right keys and play detached/staccato as I like it. Very well done!

The A-major prelude is very good as well. Perhaps a bit rushed in a few bars when there is a change from 8:ths to 16:ths. A couple of wrong notes in the fugue. I am not sure if you are sure about a your musical interpretation of it. Are you? It feels more like you struggle with it and play the notes right through.

I am rather unfamiliar with the B-major prelude and fugue of book II so I leave this but from saying that it feels like you enjoy playing them.

The Italian Concerto is a very good performance. Your accenting and choice of tempo is as I prefer it. Again, it feels like you really like to play it.

I'll continue my reply in a later post.

_________________
Pianist profile of Robert


Top
 Profile  
 
 Post subject:
PostPosted: Mon Oct 02, 2006 5:05 am 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Thanks for the encouragement !

Quote:
The A-major prelude is very good as well. Perhaps a bit rushed in a few bars when there is a change from 8:ths to 16:ths. A couple of wrong notes in the fugue. I am not sure if you are sure about a your musical interpretation of it. Are you? It feels more like you struggle with it and play the notes right through.

Aw, rushed, that is bad. I always pick on that with others. Need to listen again and see what you mean.
In that fugue I have some trouble with the LH 16th runs, but I'm a bit disappointed the whole sounds like a struggle - which is not as I feel it. I like to take this quite brisk and breezy, if that can be called an interpretation.

I hope someone will take the time to sample the Liadov Variations, which I think is one of the best variation sets in the repertoire, and probably his masterpiece for piano.

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Mon Oct 02, 2006 6:49 am 
Offline

Joined: Wed Aug 16, 2006 1:38 am
Posts: 647
Location: Sydney, Australia
techneut wrote:
Yo pianolady,
Looks like you've spotted most or all of the slips, and indeed there are some missing bass notes (could also be they were too wimpy to be picked up by the not overly sensitive Edirol mics).
I noticed all of this when listening back but I thought it was not bad enough to warrant a re-recording. Tell me if I'm being a lazy sod :D



so Chris, do you do music full time?? very impressive with the amount of recordings you did in one day. I only practice 8-12 hours a week. But I do beleive, any one can acheive the same results as the full time professionals but just takes a bit longer to acheive that thus focus on less pieces.
You must be a sight reader freak? :lol: do you play all from memory?

So now you self experienced that people can spot your slips.......so, I will listen to your recoding soon...just wish the down load can be a little faster.......I am at home now its really slow....


Top
 Profile  
 
 Post subject: Re: At Last
PostPosted: Mon Oct 02, 2006 6:57 am 
Offline

Joined: Wed Aug 16, 2006 1:38 am
Posts: 647
Location: Sydney, Australia
[quote="techneut"]At last, got the piano tuned and had a productive recording day yesterday. Recorded 26 tracks in total. Sorry for spamming.... do not feel obliged to listen to them all. But any comments appreciated.

I did not plan on recording the two variation sets yet, but decided on the spur to give it a go. They came out not too bad except I fly squarely off the rails in the Liadov Presto finale. More warty than the rest though, and should be considered work-in-progress really.

Changed recording position once again, lid open, Edirol on a bench about one metre from the narrow end of the grand. Seems to sound more natural than earlier recordings though a problem here is that some very short and soft notes are not being caught by the mics.

[My micropheone-sony does 20-20000hk freq with 110db and its placed next to me with lid closed.
What sorts of micro do you use?? it should pick up all pp tones....even a bird tweak from the back ground.


Top
 Profile  
 
 Post subject:
PostPosted: Mon Oct 02, 2006 7:37 am 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Quote:
so Chris, do you do music full time?? very impressive with the amount of recordings you did in one day. I only practice 8-12 hours a week. But I do beleive, any one can acheive the same results as the full time professionals but just takes a bit longer to acheive that thus focus on less pieces.
You must be a sight reader freak? :lol: do you play all from memory?

I wish I could devote to music full time. Might even be able to play a piece without errors then. But sadly, there is a day-time job that needs to be done pay the bills. I took a day off for this session which had been planned and prepared for a long time. Yep I am an avid sight reader, never made an effort to memorize. Should perhaps focus on less pieces but there is so much I want to do.... I am like the proverbial child in the candy shop.

Quote:
So now you self experienced that people can spot your slips........

Hehe yes, it would be pretty hard to miss them :lol: They are getting less in number and severity though. Mind you I seldom chastize people for slips, unless they are too numerous to accept. I like to point out reading mistakes and would be interested to hear about the ones that I make.


Quote:
What sorts of micro do you use?? it should pick up all pp tones....even a bird tweak from the back ground.

I use the Edirol R1's built-in mics which are decent but not as sensitive as 'real' mics. Especially in this session a lot of soft notes are inaudible even though I played'em right and proper. A bit annoying really as it makes the playing sound more insecure than it is. Guess I need to fiddle with the position one again, perhaps put it a bit higher up.

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Mon Oct 02, 2006 9:39 am 
Offline

Joined: Wed Aug 16, 2006 1:38 am
Posts: 647
Location: Sydney, Australia
Chris, your microphone position??/ I always check for the frequcy spec of the microphone regardless of the brand.
Can you tell me about your one why its so popular??

I have choosen sony one, its quite good with my lid closed and my microphone is on my rh side next to me-on the telephone desk. With the lid open its too lound and too much hazzle to walk around to switch the recorder on(sorry its a low tec no remote control yet0

In the past in my teachings and musical colleques, i found that people with great sight reader often are not good in memeotising scores. This happened even to my own kids. So as myself.....not a good sight reader but rather memorising. My female colleque, she is a faster reader by all means. But SHE can not memorise at all....weird ehhh. Do you have the same experience with people you met.

Only very few people have both....DNY you think?


Meanwhile still mastering op53 section by section.........


Top
 Profile  
 
 Post subject:
PostPosted: Mon Oct 02, 2006 10:00 am 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
I have now put the Edirol on the opposite (from me) side of the grand, about 1 metre from the far end, on a bench about 30-40 cm high, and kept the lid open. Now it operates from beneath the rim of the grand so perhaps if I raise it above that height it might be better. Will give it that a try. Yeah, must walk around to operate it but hell, otherwise I wold not even get up from the piano bench for all afternoon :wink:

Why the Edirol is popular around here ? I guess it must be the ease of use. Any audio idiot like me can push the 'Record' button and start to play. And you can take it anywhere you go. I have no clue about the freq specs really... but it sounds sort of good enough for me, and apparently for others on this forum too. I can understand the real audiophiles sniffing at it though.

The old sight-reading vs. memorize debate... I guess there are pros and cons with both approaches. Memorizing would not be practical for me as I have far too much going on at any time. Would have a problem even deciding what to memorize and what not... The advantage is that I do not need to look at my hands too much unless there are large jumps. That frees the eyes to keep in touch with the score, which is something that not always happens when playing from memory. Apart from the occasional audible pageturn (I cut them out if I can) I am pretty sure it is not apparent from the performances that it's being played from score, and does not give the impression of frantically searching for the next note. As Robert remarked earlier, I know these pieces very well even if I can't be bothered memorize all the niggly details.

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject:
PostPosted: Tue Oct 03, 2006 9:18 pm 
Offline

Joined: Wed Aug 16, 2006 1:38 am
Posts: 647
Location: Sydney, Australia
ok, Chris

I have a quick listen to your bach, op59 mazurka, and some of liapov mazurkas...

forget abou the slips...If I am not wrong, your heart is for Bach.
With the mazurka,,,for some reason the LH bass seems to be to loud? would that to do with the Microphone you placed..eg slight towards to the LH of the grand??? The Liaov mazurka was BETTER balanced. What sort of grand is that? DO you want me to tune yours for free? It sounds quite hollow.>>.forgive me for saying that.

Well done. I hope you didnot used up all that emotional energy for ALL that recordings....


eg I placed my microphone slight toward my RH shoulder.


Top
 Profile  
 
 Post subject:
PostPosted: Wed Oct 04, 2006 4:56 am 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Quote:
forget abou the slips...If I am not wrong, your heart is for Bach.

It sure is. But no less for the other composers being played here. Seems like Bach just comes off best usually.

Quote:
With the mazurka,,,for some reason the LH bass seems to be to loud? would that to do with the Microphone you placed..eg slight towards to the LH of the grand???

Yes this instrument is a little bass heavy. May be not a bad idea to put the edirol a bit away from tha bass strings.


Quote:
What sort of grand is that? DO you want me to tune yours for free? It sounds quite hollow.>>.forgive me for saying that.
It is an old (ca.1920-1930) Gaveau. It had just been tuned that very morning and I was very pleased with the result of that. But, if you want to come over from Australia every now and then for a free tuning, I would sure appreciate that :wink:

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
 Post subject: Piano
PostPosted: Fri Oct 06, 2006 10:06 am 
Offline

Joined: Wed Aug 16, 2006 1:38 am
Posts: 647
Location: Sydney, Australia
xxxxxxx i thought you from australia or nearby... i did a lots for friends piano for free. except for my students. You never know if i do visit US(am i right?), I might give it a go.


Top
 Profile  
 
 Post subject: Re: Piano
PostPosted: Fri Oct 06, 2006 10:10 am 
Offline
Site Admin

Joined: Mon Jun 12, 2006 11:45 am
Posts: 9598
Location: Netherlands
Quote:
xxxxxxx i thought you from australia or nearby... i did a lots for friends piano for free. except for my students. You never know if i do visit US(am i right?), I might give it a go.

No I am from Holland. But if you ever pass by, feel free to drop in :lol:
Have to say though I am pretty satisfied with my tuner, even if he isn't free.

_________________
Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


Top
 Profile  
 
Display posts from previous:  Sort by  
Post new topic Reply to topic  [ 28 posts ] 

All times are UTC - 1 hour


Who is online

Users browsing this forum: Google [Bot], Yahoo [Bot] and 1 guest


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot post attachments in this forum

Search for:
Jump to:  
Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group