Wait a second, I'll be right back. I'm going to fetch a glass so that I can catch all the champagne/sparkling wine splashing out of the bottle....
Thank you, Monica, and "Prost" like we say in german!
I was off with family on silvester, so I couldn't reply directly.
Anyway, "Stalemate" is up on the site now.
I don't know this score, but commend you for your fine-sounding rendition. Riley's composition is interesting too, bringing out the sense of concentration to the task, contemplation of tactics, hopes for achieving checkmate, the relief of evading checkmate, and the shared frustration of the end point being stalemate. I think Riley did a wonderful job of depicting those sometimes opposing, and at other times shared, feelings. Your playing brought a lyricism to it all.
Thank you for your encouraging words concerning my playing, David.
I like your analysis of Rileys piece, it's really profound. Thank you for these inspiring thoughts!
I listened to Chris' version as well, also very well played and lyrical as well. The tempi between the two are different, and I sensed that Chris followed the unfolding of the event more from the observer's point of view, while you focused more on the inner pondering along with the shifting moods within the streams of consciousness of the chess players. Both approaches are quite effective in my opinion, one being existential and the other psychical.
That's also a very interesting and deep respective profound reflection, David. I think you have hit my manner to interprete music very often in general. I always try to discover psychic respective mental structures behind the music and mostly there is
to discover a lot!
Thank you for your enriching (I mean that in a mental sense) comment.
I wish you a healthy and good New Year with a lot of music, dear friend!
First, thanks for taking the time to rehearse and record “Stalemate” There are many things I like about your interpretation. To me, the tempo you use adds a totally different feeling to what getting a stalemate feels like. You play a slower moderato and it makes the piece seem more brooding, I like it.
Thank you, Riley, I'm glad you like my interpretation. Of course, if one is getting a stalemate, I think, one feels quite neutral respective disappointed, that one couldn't win the game. A short time ago I played with the windows chess game and got a stalemate, so I can well remember that feeling, by the way. So, for the pure feeling of a stalemate my interpretation has much too much emotion. But, of course, I wanted to show the brooding atmosphere preceding the stalemate.
If I could make a criticism, the middle voices in the first and second measures could be more legato, I noticed in the video your thumb plays all of the notes which is interesting in that it is agonizingly detached IMO. I realize I didn’t write fingerings on the score so I can’t say you played this wrong ! The metric accents at the end of measure 9 were nice in that they added new meaning to the eighth notes in the eighth measure. The block chords at the end and the last note brought a different meaning to entire piece. It's like the players have spent a long time deciding whether or not to start a new game, and eventually they decide to, (this symbolized in the final and forte c natural)
Thank you for your criticism, Riley, of course I'm open for all you mention here, especially since you are the composer and for this reason the boss!
(I also would accept, if you would tell, that you dislike my interpretation completely and that I would have to make a complete other recording, btw.)
Somehow I have played that tenor voice automatically with the thumb, but I see, it could be played more legato with another finger setting, but like this I couldn't hold the bass note all the time as far as I remember (I'm writing this answer not from my computer and I have not your score here, so sorry if I'm wrong.) Yes, probably I should have played the end in a more neutral way corresponding to the real feeling of a stalemate. Should I make a re-recording because of that?
Sorry about the enharmonische verwechslungen as you have said in a pm. You have been able to play the piece correctly despite this so it is to your credit.
As I said the main thing is that we know about the right tones. That matter of "enharmonische Verwechslungen" is bit comparable with using the right grammar respective orthography while writing sentences IMO. It's the right orthography of music. But we all also understand the right meaning of a sentence, if it is written with a wrong letter here and there. So it's not the most important thing.
Thanks again, and one more thing, I know you and Chris are not known as composers, but if you write something, I will try to play and record it, you have my offer!
That's very nice offer.
I have studied composition from 1986-1991 by Jürg Baur and Krzysztof Meyer in Cologne. Most of my compositions for piano of earlier time are in tonal or freetonal style and there is a twelfe tone composition which sounds a bit impressionistic (I tried out a new technique then). My real atonal twelfe-tone compositions are not for piano (regarding your offer I have to say alas), but for string quartett and there also is one for symphonic orchestra.
There also exists a recording of a concert evening in 1987 containg only compositions by me. Most of them are also performed by me and by a flutist. (I have also composed twelfe-tone music for flute. The theme is voices of birds.)
You see you have made a dangerous offer here.
But, of course, you have not to do that.
Happy New Year to everybody (and thanks for the Champagne Andreas )
To your health, Riley, and have a happy New Year!