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PostPosted: Mon Nov 19, 2007 9:53 pm 
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Ok - done. Sounded as beautiful as the others.

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PostPosted: Mon Oct 06, 2008 8:59 pm 
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Hello all,

I prefer this new recording to my previous one. I improved my rhythm here and there. And it sounds better. I hope that you will enjoy it and would like much that it replaces my previous one. :roll:


Schubert - Moments Musicaux, Op.94, No. 2 "Andantino"


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PostPosted: Tue Oct 07, 2008 10:22 am 
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Ok, I've replaced this, Didier. The play time is exactly the same as the previous version.

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PostPosted: Tue Oct 07, 2008 5:57 pm 
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Tkank you, Monica! :)

Yes, the same play time: I have this tempo in the blood. :lol:


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PostPosted: Wed Oct 08, 2008 6:19 pm 
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Hi Didier,
this is very musically and expressively played, with much sensation like we are used of you. And the sound-quality and touch is splendid.
There are some (few) mostly rhythmically issues I would like to mention:
in bar 5 you hold the last chord too long, I think.
Has your edition no c flat in the upper voice in the bars 4 and 5? In my Henle-edition it's an octave c flat on the second last chord in bar 4 and 5. The same in bar 39, 40 and 79, 80.
Don' t you want to play a bit more the staccato-points in bar 18 following or do you consider them as hand-points?
In bar 45 the second note you play like an eigth, but it's a quarter-note.

I really like your rubati, especially in bar 34, 73, in bar 47 you become a bit more lifely (faster) with the sixteenth, in bar 88 and similar places you make wonderfully hesitations in the upper-voice, which brings interpretative colour in your performance. At the begining and similar places it's a very beautiful silence in tempo and rubati (agogic).

In summary a great performance (with small rhyhtmic imperfections), which proves a player with romantic sense behind the piano.

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PostPosted: Wed Oct 08, 2008 9:37 pm 
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Achieving that "romantic sense" behind Schubert's music is very important indeed. As a composer (not unlike Beethoven's evolution in his late period), Schubert stood with one foot in Viennese Classicism with the other foot in the onset of early Romanticism. Thus he was truly a transitional composer moving toward the latter style of musical expression. I think that's what makes his music so remarkable.

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PostPosted: Wed Oct 08, 2008 9:53 pm 
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Thank you very much Andreas for your detailed report from your listening and your kind words. Much useful and encouraging to me. I well agree with you about my mistakes on bars 5 and 45. I may have wanted to compensate at bar 5 for the dotted quarter instead of the doted half note played by Radu Lupu in its Decca recording (nonetheless my preferred version within the numerous ones that I have listened to) and the in-between duration chord played by Emil Gillels at the 1970 Salzburger Festspiele (Orfeo CD). Anyway I well remembered that I counted from 1 to 9 while I should have stopped to 6, what I used to do previously when I was counting. :? When I listened to my recording, I found that this stangely long chord was interesting... :roll:
The eigth instead of the quarter at bar 45 is a recurring mistake. Thank you again for pointing it out!
Yes I have a c flat at bars 4 and 5. My ears are not accurate and I cannot check on the piano at this time but I think that it is what I played. Am I wrong? :oops:

Quote:
Don' t you want to play a bit more the staccato-points in bar 18

Most performers don't. Maria Joa Pires did (DG) and it is awful... I consider them as a kind of accents.:?:

I just listened your 4 hand interpretation of the Fifth Symphony from Beethoven on Youtube, which I enjoyed a lot. For sure, you rhythm sense is much more developed that mine! :wink:
(By the way, I looked just after at the performance by the Berliner Philharmoniker conducted by Karajan, filmed by Clouzot. I must get this DVD!)


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PostPosted: Thu Oct 09, 2008 6:20 pm 
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Didier wrote:
Quote:
Yes I have a c flat at bars 4 and 5. My ears are not accurate and I cannot check on the piano at this time but I think that it is what I played. Am I wrong? :oops:


No, but you play only one c flat instead of an octave. That's sure.

Quote:
musicusblau wrote:
Quote:
Don' t you want to play a bit more the staccato-points in bar 18

Most performers don't. Maria Joa Pires did (DG) and it is awful... I consider them as a kind of accents.:?:


I understand this. I think, I wouldn't play the staccato, too.

Quote:
I just listened your 4 hand interpretation of the Fifth Symphony from Beethoven on Youtube, which I enjoyed a lot.


Thank you for the compliment. :D

Quote:
(By the way, I looked just after at the performance by the Berliner Philharmoniker conducted by Karajan, filmed by Clouzot. I must get this DVD!)


I would like to have this, too, but I have the audio-recording of Karajan conducting Beethovens Fith. I dislike his tempi, which often are too fast for my taste.

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PostPosted: Sun May 10, 2009 12:43 pm 
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Hello,

I corrected (most of ?) my mistakes. I hope that you will enjoy this recording because I made a particular effort to get it right. I displaced the piano to get the sound axis aligned with the long axis of the room. The sound is better but it's nearly impossible to walk around the piano. :wink:


Schubert - Op.94 D780, Moments Musicaux, 2. Andantino


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PostPosted: Sun May 10, 2009 8:38 pm 
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Hi Didier,
congratulations, this is really the best version until know, but there still are some little things, which could be improved:
1) the dotted rhythm at some places is to short (I mean the first note with the dot), f.ex.
2) You sometimes forget the melody tone in places like f.ex. bar 4, 5 and 6: c-flat in the upper voice is missing (it always concerns the upper tone on the sixteenth after the dotted eigth).
3) Three bars before the first a-major-part you don´t pay attention to the holding-bow on d-fat.
4) on the last chord (d-flat-major) before the f-sharp-minor-part there is too few of the third (f)
5) Very interesting that you play the staccato-points in the f-sharp-minor-part at the beginning. I always take pedal here and consider them just as "hand-points". I think, one shouldn´t hear them, but it sounds interesting.
6) bar12-19 of the second as-flat-major part the rhythm in the left hand is wrong:the dotted rhythm here mostly is too fast, that means the sixteenth-note comes too early, first in the bass (e-flat) than in the upper voice (e-flat).
7) the fourth and fifth bar of the second f-sharp-minor-part: here you forget the a in the upper-voice on each last sixteenth of both bars. In this part you play the staccato-notes like I do, btw (that means not audible).


I hope, my tips help you. I like your performance as usual very much, because you play so sensitively, expressively and with much soul. And the sound-quality of your recordings is the non-plus-ultra for me. It´s so clear as if I would be directly with my ear on the cabinet of your grand-piano. I think, your recordings have the most natural sound-quality on this site. Do you add any reverb or equalizer? Explain me more about the replacing of your piano. I didn´t get that completely. What dou you mean with "long axis"?

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PostPosted: Sun May 10, 2009 8:45 pm 
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Very expressively played. I liked your clean and intimate sound.


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PostPosted: Sun May 10, 2009 9:24 pm 
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Very intimately played indeed, and I like it very much that way.
In some spots, however, a bit less rubato would improve the performance even more.


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PostPosted: Sun May 10, 2009 10:22 pm 
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Thank you all for taking time for listening to this and for your kind comments.

Special thanks to Andreas for his detailed ans so accurate report. I am much confused about 2) because you already pointed this out at my previous recording and I paid much attention to it. At least during the first takes... Then my attention should have been drawn by other issues. I'm so sorry... Anyway be sure that your remarks are much valuable to me ! Regarding 4), it was not intentional. :? But I found afterwards that it could have been! :wink:

My room is approximately 9.5 m x 4.5 m and the piano is in a corner:

Image


This is a rather bad placement for recording but the most practical for the activities other than playing piano usual in a living room. For this recording I oriented the piano so that the longer axis of the room be perpendicular to lid. The best for the sound but absolutely non-practical for every day life.

Image.

Yes there is EQ for taming low frequency resonances and a bit of harshness in the 2kHz - 5 kHz band. Yes there is reverberation to give space that a so short distance recording, mandatory in such a room, cannot give.


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PostPosted: Mon May 11, 2009 11:57 am 
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Ok, this is replaced.

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"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

my videos: http://www.youtube.com/user/monicapiano


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PostPosted: Mon May 11, 2009 4:34 pm 
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Thank you, Didier, for your interesting and informative reply with the pictures.

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