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 Post subject: Bach, C minor 2-part Invention
PostPosted: Sun Oct 22, 2006 5:19 pm 
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Well, slow progress to complete the cycle (this is 7 out of 15). At least, here is no.2. Had a difficult time to decide how to interpret this beautiful little piece. Tried fast, slow, different dynamics, different ornaments. This is what I liked best out of my takes.

http://server3.pianosociety.com/protect ... lbrand.mp3

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PostPosted: Sun Oct 22, 2006 7:36 pm 
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I'm used to taking this one quite a bit faster, but this tempo certainly works, it's very calm and relaxed. A nice firm and even touch. I found the swelling dynamics in the first bars a bit over the top, but that smoothed out later. Your execution of the trills is not quite conform Bach's ornament table, but perhaps other artists play them like this too ? You nicely handle that nasty crossing in bar 18.

Nothing to niggle about really, but I do wonder if your edition indeed has a B flat in the LH at the start of bars 4 and 26. Henle Urtext has a B natural which I think is right, as there also is one in the RH in bar 2. You do however play a B natural (a slip ?) in the RH halfway bar 6, which should be a B flat (sez Urtext).

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PostPosted: Mon Oct 23, 2006 11:09 am 
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You are right about the B-flat versus B-naturals. It is me who reads the score sloppy and I will re-record this as soon as I find time.

I kind of switched the idea of interpretation after the initial RH first bars and that is why it turned out a bit ugly. Not a good idea to not be certain of your interpretation before you begin to play but I liked the rest a bit more. Didn't like the idea of cutting different takes together and I also had a lot different speed in different takes.

About the tempo. I want this piece to sound gloomy (perhaps even melancholic, find no good words to describe the feeling) and I know it is slower comparing to other recordings. But it must feel right to me. What I want to include is a part of myself and I would never copy another pianists interpretation. Nor do I care very much how Bach himself played. This is one of the biggest advantages of this site. One do not have to create a version that people in general will like or recognize. When recording a CD which is supposed to sale, you cannot afford to experiment too much. Perhaps next version will be a lot faster. You never know what feels right that day of the recording ;).

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PostPosted: Mon Oct 23, 2006 11:27 am 
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that was nice, Robert. Sounded very clean. In my opinion, at this tempo it is indeed melancholy in mood. A faster tempo will change the mood considerably.


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PostPosted: Mon Oct 23, 2006 12:35 pm 
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Robert, I like your interpretation very much. One can feel that you searched for different kinds of interpretation and, I think you found a convincing interpretation, especially regarding expression. Soft and calm played, with lots of feeling.

You also got it managed that the trills remained soft, something I find very hard to execute myself. They were slow played, and I see no need to play them faster. That way the piece remains in the calm mood you brought in. The trills are almost even, perhaps only some percent away from perfect eveness.

I personally don't care much whether the trills are executed according to Bach's advices, I enjoy if someone not only plays the right notes, but puts meaning in it. That is what you did, and thanks for that!

Something, what is valid for all 2-voice-inventions (so I think), is to try to give both voices similar "care" and meaning. So not to phrase foremost the right hand voice, instead alternating or in parallel both voices, depends on the piece. Surely not easy, but maybe a worthful goal to long for! One normally is used to listen foremost to the right hand voice, but both voices often have equal rights here - it is only unfamiliar to voice the left hand on appropriate places more and put the right hand in background instead the more usual other way round. Only a suggestion...

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PostPosted: Mon Oct 23, 2006 1:02 pm 
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Thanks to you both!

I struggled a lot with the trills and did several clumpsy attempts where the trills did come out way too loud or uneven. The solution was for me to play them slower (not so many rounds and start on the printed key insted of the higher) and take my time with them. But still, they are far from perfect! I also tried to change the fingering to use combinations which were easier to execute but the surrounding notes suffered too much. I had no idea it would take so much time to record. I made a totally failed attempt the day before. If Chris has good memory, he might recall that I had a version up somewhere in the spring or perhaps even last winter where I misinterpreted the ornaments and took it down again. Took a break from it until 2 weeks ago.

Olaf, you have a valid point regarding giving both voices similar care. You have told me before so I should remember it before I play ;). It is just that if I do not actively think of it, I fall back into my traditional playing where RH get most attention.

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PostPosted: Mon Oct 23, 2006 1:15 pm 
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Olaf, you have a valid point regarding giving both voices similar care. You have told me before so I should remember it before I play ;). It is just that if I do not actively think of it, I fall back into my traditional playing where RH get most attention.


Same happens to me! And it is so much easier to give those hints than to follow itself! I only pass on what my piano teacher constantly bitched about my playing on those inventions...

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PostPosted: Mon Oct 23, 2006 7:59 pm 
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Recorded a new version where I have corrected the wrong notes. Pretty happy about that I did have a single slip. Though that was not the major goal of course.

Kind of dropped even a bit more in tempo, especially in the "repeating" second part and it sounds a bit "safe". Add an extra 10 seconds as a whole and it is perhaps too slow. Will listen to it a couple of times tomorrow at work when my brain has gotten a nights sleep and see if I am still happy about it.

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PostPosted: Mon Nov 20, 2006 3:59 am 
i like your trills! very elegant. I played this and have recording much faster...

one thing about piano is at slow speed it has a much more somber and sad but
fragile, elegant sound...

i heard this slow on a harpsichord and it was very dark and somber but yet
not so frail as piano. i think you really bring out this aspect of the piece.
very beautiful.

-justin


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PostPosted: Mon Nov 20, 2006 4:48 am 
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Thanks, that was the idea.

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