Discussion in 'Submission Room' started by johnmar78, Nov 6, 2006.
how about this one ? Since evryone disliked my mazurka interpretation.
Ah, yes! This is what happens when you play in time; the piece as a whole becomes stable. Rubatos become much more effective when placed in this even framework. Your Mazurka was rubato after rubato and little else; not so with this nocturne.
One problem is the ornamentation, more specifically the fiorituras. They need to be played with elasticity as though they are sung. Chopin wrote these figurations with the voice in mind. We should try to play them as such.
p.s. There were some minor rhythm errors in the b section. The r.h. descending D-flat7 triplets were played as duplets. (I don't know the bar number right off hand)
John, what for a quality difference to the Mazurka!
I really like your 9/1 interpretation. The rubato sounds naturally here, and especially you play with very good keytouch. So also the soft parts are evenly in tone, not an easy task but you have managed it very well. Congratulations!
The right hand long ornaments could be more evenly on some places, but hey, they are not easy!
On the 3rd page (out of 4), before the left hand has 2 complete ppp bars alone, the right hand figures you played both with quarter notes instead with dotted quarter and 3 8th notes.
Netherveless, although there are already some 9/1 recordings up to the site I would vote to add your take to the site (if I had a vote).
Very nice, Johnmar. I don't have the score in front of me, so I can't get into detail, but your style sounded just right.
(I think I heard a child come into the room at the very end )
That's what I call a recording :lol: Very nice. I think maybe sometimes there was (to) much pedal but that's personal
wooh, thank you all.
Can I tell you the story behind this noctune before I did my recordings...last month.
I played this for piano competition 10 years ago (esteiford piano comp), this was hold every year in all regions in australia-piano/strings/bass/violi.....age from 4 to adult. No prize money was involved.
I was played worse than what you have heard today.
. I actuall hit a wrong note in the competition. and I CAME SECOND PRICE after my friends(doing his masters). He played op25/1.
So by summiting this to audition room, I want to hear to see if there are ANY biased feed backs from people. So far, so good.
But how about Chris?????? Mr. HARD to please..... :lol:
Yes, this is infinitely better than that Mazurka we didn't like much (sorry.....). The tempo is a bit breathless in the first section as in the final bars, but just right in the middle section. Your touch and tone are very nice, the dynamics seem to be there although they need to be still more pronounced.
There are many good things to be heard, but you need to take more care about some of the RH figurations (like towards the end of the middle section, as I think Olaf pointed out already), and take care not to rush over the last note(s) of a phrase. Always better to take your time than to rush, especially in a Nocturne. Pedal usage is judicious, perhaps only one or two places where it blurs a little.
The 'hey daddy' yell at the end is a nice personal touch, I remember a similar thing from your first batch of recordings. But perhaps you should tell the kiddos to hold the cheers until you're actually finished :wink:
So, despite the wish for some improvements (like more careful reading of the score), this is a good and honest performance.
Houses in australia are very expensive especially in sydney. I am lucky enough to have a three bed room house. and I kept telling my kids not to move or talk for 5 sec after the recording sound is stopped. But they did not :evil: never mind, they are cute....they both doing well in piano...I will summit some of there works in near future.
thank you again.
haha techneut, They are just kids!! I think its funny and It doesn't bother me.
Catching up a bit at the Audition Room.
Very good! Nice and stable. If I may wish, I would like to hear a more detached LH<->RH playing in the A-part (and the returning A-part). LH should according to my view represent the stable clock alike rhythmic measure while RH should do the rubato and dream away. Not easy to implement but if I shall give a reference here, I would like you to listen to Arrau.
A couple of minor (sorry for being picky but I am on a train and have the time Wink) details are that you misinterpret the RH rhythm in the B-part at bar 55 and bar 57. The RH should play at the first LH note and then not until the 4:th, further on steady on the LH beats. Same kind of mistake in bar 65 but less obvious. Also, you skip a half bar at bar 60.
But generally speaking, a very good interpretation and you handle bar 72 well (practised that a lot?). Nice kid effect at the end as well .
Robert and Chris, don't you think that this take fulfils the criteria to come up to the site? Even if there are minor things to niggle and that there is a kid shouting for daddy who just finished a really good take (so I think). This adds just a homely, likeable atmosphere -why not?
Maybe John feels like others too including me, that means feeling a bit proud to eventually belong to the "Society". Not to mention the kick it gives to practise even more to produce better and better recordings. At least that happens in my case, maybe the same for others?
Yeah sure, can't see why this could not go up. I just did not really think about it. It's a perfectly ok performance irrespective of the things I (and others :!: :!: :!: ) would like to see improved.
John, if you provide a bio text and photo I will see to it (probably not today though).
thank very one for the moral support. :lol: :lol:
It must be a miracle....you have encouraged your member to start to do more recordings...
I will up date soon..thanks
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