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Chopin 3 Mazurkas and Beethoven Sonata op.31-2

Discussion in 'Submission Room' started by Anonymous, Mar 14, 2007.

  1. Anonymous

    Anonymous Guest

    Hello,
    I'm a piano player as "amateur".
    I have begun again to play after many years of no-activity,
    after hearing a concert of Pogorelich and having discovered some Sofronitzki
    recordings.
    I'm 44 years old (and not 144 as suggested by my playing style) and I've recorded
    more than 3 hours of music.
    Hand on revolver, and shoot at me immediately, or I'll send these other recordings.
    Other words on me if and when the recordings will be accepted on site.
    I begin with 3 Chopin's Mazurkas and Beethoven's Sonata op. 31/2.
    Digital piano Kawai mp-9500 directly to the computer, with a reverb and an
    equalization.
    Thanks to all,
    Sandro "Sarrasani" Bisotti

    Chopin Mazurka op 24-4
    Chopin Mazurka op 30-2
    Chopin Mazurka op 30-3
    Beethoven Sonata op.31-2 I mov
    Beethoven Sonata op.31-2 II mov
    Beethoven Sonata op.31-2 III mov
     
  2. schmonz

    schmonz Amitai Schlair Piano Society Artist

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    Welcome! I haven't listened to everything, but from what I've heard, you've no reason to be ashamed. Your playing is assured and musical. I find the digital sound a bit dry, and IMO at your level of playing it does you a disservice. If you can get to a real piano and record there, I'd be very interested to hear it.
     
  3. techneut

    techneut Active Member Piano Society Artist

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    I listened to the Mazurkas so far, and they are extremely good. Of course these will be accepted on the site, that digital Kawai sounds pretty good to me, and technically your playing can not be faulted. You do take extreme liberties with the tempo sometimes - not so much in the 30-3 and not too bad in the 30-2, but a bit wilful in the 24-4. The start and ending of 24-3 are rather protracted, and in places you seem to get a bit too excited. Don't get influenced too much by Pogorelich's ideosyncrasies !

    Some things I noticed:

    - In the 24-4 in bar 8 and similar, I think you play the 3rd LH note as a D instead of D flat. Is that in your edition like that ?

    - In the 30-2, in the middle section, you play a sort of dotted rhythm, is it written like that in your score ? You are very secure in the tricky double-note section though I am reassured you have one or two tiny slips as well there :)

    - At the end of 30-2 there is the weirdest echo-reverb I ever heard. What happened ?

    Great quality recordings, as schmontz said, assured and musical. I did not find the digital sound too dry, and in fact would not have known it was digital if you had not mentioned it. Welcome to the site !
     
  4. pianolady

    pianolady Monica Hart, Administrator Staff Member Piano Society Artist

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    Hello. The mazurkas sound very good to me too. Interesting interpretations with tempo and dynamics. The only thing that bothered me is the D-flat that Techneut mentioned in the 24/3.
     
  5. Anonymous

    Anonymous Guest

    Which was the Groucho Marx phrase about the club that accept him ? :)
    No, really very happy of this because I love this site' philosophy and reality.
    I'll send soon other my recordings.
    Thank you,
    Sandro "Sarrasani" Bisotti
     
  6. Anonymous

    Anonymous Guest

    Which was the Groucho Marx phrase about the club that accept him ? :)
    No, really very happy of this because I love this site' philosophy and reality.
    I'll send soon other my recordings.
    Thank you,
    Sandro "Sarrasani" Bisotti
     
  7. techneut

    techneut Active Member Piano Society Artist

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    No, I did mean 30-2. See attached image, section starts at the p sign. You play the two eights as a dotted 8th and a 16th. It's not bad, I suppose Chopin could well have written it like that.

    Some decades ago, we used to have a touring circus named "Sarrasani" here. Not sure if they were Italian or not. What does it mean ?
     
  8. Anonymous

    Anonymous Guest

    [quote="techneut

    >No, I did mean 30-2. See attached image, section starts at the p sign. You play the two eights as a dotted 8th and a 16th.

    I do not play exactly as a dotted 8th and a 16th (775 and 225). I play about 670 and 330... :eek:

    > It's not bad, I suppose Chopin could well have written it like that.

    For Chopin, you'll know, the moment of writing music for the editor was a sad moment.
    Head-ache in that days, and the next day he played the printed music with "deviations" on the text he licensed.

    >Some decades ago, we used to have a touring circus named "Sarrasani" here. Not sure if they were Italian or not. What does it mean ?

    Sarrasani is a german Circus. A theatral pieces of Thomas Bernhard spoke about it,
    and from this fact my nickname (in an italian blog) was derivated.


    Thank you,
    Sandro "Sarrasani" Bisotti
     
  9. Anonymous

    Anonymous Guest

     
  10. techneut

    techneut Active Member Piano Society Artist

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    Ah darn... I meant RH of course ! And it's not bar 8 but bar 16. I get easily confused these days :wink: See image. You play D instead of D flat here.
     
  11. Anonymous

    Anonymous Guest

     
  12. techneut

    techneut Active Member Piano Society Artist

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    Sorry :D
    But you should not feel like you have to re-record a piece for one read mistake. If anybody would notice it at all, just say you use an Albanian Chopin edition, or something like that.
     
  13. Anonymous

    Anonymous Guest

    > But you should not feel like you have to re-record a piece for one read mistake.

    1) The mistake is at soprano (singing part)

    2) Another discovery (of mine, this one) is the tempo indication: Moderato.
    Dover edition suggests semiquaver=132. Or "moderato" or "132" are wrong.
    I'll re-record the mazurka at "Moderato" time, slower and I hope so with more details
    in phrasing and microdinamics. But first I'll send other recordings.

    > If anybody would notice it at all, just say you use an Albanian Chopin edition, or something like that

    :) ....but when I was a boy I've heard someone played D natural.
    Not terrible that harmony of G7...... :?

    Bye,
    Sandro "Sarrasani" Bisotti

    P.S.

    I played this mazurka when was a boy. My teachers and co-students and professors at
    degree (when I played it): not a word about this Db.
    In these years I've begun again to play it: none of my friends tell me a word.
    Until this site, you and Pianolady, thank you.
     
  14. techneut

    techneut Active Member Piano Society Artist

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    Haha ! Who needs professors when you've got Piano Society :lol: :lol: :lol:
     
  15. techneut

    techneut Active Member Piano Society Artist

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    I listened to your Beethoven as well. I'm not an expert on Beethoven interpretation, and this is my least favourite of the sonatas, so I can't offer much comment on interpretation. Generally though, it seems rather ideosyncratic to me, in that you take great liberties with tempo, pedalling, phrasing, etc... I will not argue about it, as you are a strong-willed pianist who does everything for a good reason it seems. And I have great respect for your immensely assured and polished performances even when I do not agree with all details. There is a really strange echo/-reverb effect just before the end of the finale, and I took objection to some very long pedal stretches in the first movement, and some LH passages that sounded jazzy and un-Beethoven-ish. Apart from that, real good again.


    You had better send me your bio and picture so that we can get you up on the site.
     
  16. Anonymous

    Anonymous Guest

     
  17. techneut

    techneut Active Member Piano Society Artist

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    These are all up !
    Now all I need is your bio and photo. If you want to replace the Op.24 No.4, just email it to me directly.
     
  18. robert

    robert New Member Piano Society Artist

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    Very well done and that goes for all of the recordings!

    The Beethoven Sonata is played seriously as Beethoven's music in most cases is. But nevertheless, you play with fire and passion in some spots where it is needed. A difficult balance but you handle it very well and it is especially obvious in the famous last movement.

    You play Chopin very well too and as already remarked, you take quite some liberty in use of dynamics, phrasing and rubato. Not in a bad way and nothing unusual or strange but rather more of everything.

    Overall, I got a very convincing first impression of you as a pianist and it will be interesting to listen to future recordings of yours.
     

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