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Chopin Polonaise 26.2 and 3 more Mazurkas

Discussion in 'Submission Room' started by techneut, Oct 13, 2006.

  1. techneut

    techneut Active Member Piano Society Artist

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  2. robert

    robert New Member Piano Society Artist

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    Very well done as well even though I wish to have a more accented Mazurka "swing" and a bit more rubato in the Mazurkas. Once there is a trill or ornament, accent it with a short tempo drop and do not play it tempo steady through. That is at least how I wish it to be played (even though I suck playing them myself ;)).

    The Polonasie is most impressive and you handle the fast runs better than in other pieces I have heard. Practised on them quite a bit I assume.
     
  3. techneut

    techneut Active Member Piano Society Artist

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    Not particularly ! RH upward runs seem to come naturally to me, no idea why.
     
  4. johnmar78

    johnmar78 New Member Piano Society Artist

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    Mr. Breemer,

    Thanks for sharing your music with us. I am amazed, this time the down loading from home was fast. Have you done some thing special :evil:

    So you have encouraged me to dig out my complete chopin mazurka to practice.

    Me and my wife(pianist too) ready to sit down to enjoy your playing........

    WE have to say the first one, at the start op63/1 was a bit too rush and I liked the way you deceived us by slowing down to the slow section(am i right? or thats your intension).

    Overall, the mazurkas I felt that you played without sufficient emotion/feeling, it feels like you are just playing the notes thru without any emotion. I would like to hear a more sentimental version....

    The Polonaise was well played, I have to say YOU ARE THE KING OF SIGHT reading and King of chords. SImply I have no patience in this particlular piece, and you know me well.
    Chopin does write weird musics, and this one was nicely done with his artistic taste.

    Overall, I hope you are not offended by our honest say and I am sure you will do better as long as you are happy with. :wink:
     
  5. pianolady

    pianolady Monica Hart, Administrator Staff Member Piano Society Artist

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    I can't find much to "niggle" (what a funny word, I'm taking it from you guys) about on the Mazurkas except that your tempo is a tiny bit slow in places. I don't have the score in front of me so I can't point out specifics. I will listen to these again later when my family is awake. Right now my speakers are low.
     
  6. techneut

    techneut Active Member Piano Society Artist

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    Hm :?
    I am not a sentimental pianist, that much is true. I like to keep things on the move, and I dislike exaggerated rubato. After all these are dances in origin. If you want heart-on-sleeve sentiment, look elsewhere. I try to give these pieces tender loving care rather than smothering them in affection, and hopefully not all of you find them emotionless - otherwise I radically need to change my ways before recording the rest of the Mazurkas.

    Hehe, the king of chords, I like that :D Makes a change from being the king of Turd Mountain.
     
  7. PJF

    PJF New Member Piano Society Artist

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    Niggle. :lol:
     
  8. techneut

    techneut Active Member Piano Society Artist

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    Yeah, that helps ! :roll:
     
  9. juufa72

    juufa72 New Member Piano Society Artist

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    when will you record the Polonaise 1817...knowing your reading skills it shouldn't take more than 2 days to learn.
     
  10. johnmar78

    johnmar78 New Member Piano Society Artist

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    Chris I liked your expression mark" :? heeeee. Not too happy ehh. By all means, the main thing is you are happy with your playing, who cares what other says....

    Have you tried play the "king of the mountain hall" by Greig???/I might spell it wrong...I did hear one live performance by a Taiwannise pianist who stuidied in Austria with schoolship(when he was young). He was about 45 years old when he played. The performace was awesome but feels like breaking the piano.....
     
  11. techneut

    techneut Active Member Piano Society Artist

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    Don't have to learn that, just need to brush it up. I am quite fond of these posth. Polonaises, and may well record them. Just one of the many plans I have....
     
  12. pianolady

    pianolady Monica Hart, Administrator Staff Member Piano Society Artist

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    Okay, I just listened to the mazurkas again and I've changed my mind. I think your tempo is fine. I see two spots that can be niggled (?) (you have invented a new verb)

    No. 1 - measures 40 - 42: My score shows an accent on the third beat. This makes those measures stand out against the ones before and after them. Not sure if it's a matter of dynamics on recordings.

    No. 2 - Missed one of the mordents near the end - 7 bars from the end. I know, no big deal, but you play nice mordents (bet you never had a girl say that to you before. "I like your mordents" :lol: ) Sorry, I'm cracking myself up.

    No. 3 was fine. Good job on the last line. I can never do that
     
  13. techneut

    techneut Active Member Piano Society Artist

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    Thanks pianolady ! I think my tempi are relaxed, rather than slow. At least they should feel like that - they do to me.

    Yes these accents ! I guess I never even noticed them, thanks for pointing that out. Instintively always put them on the 2nd beat, which doesn't seem to sound bad to me. But must do as papa Chopin said.

    Yes these mordents ! The girls can't get enough of them :wink: But, I have not got one in my score 7 bars from the end. Have you got any more in your score that were not played here ?
    Which score is it ? Mine is Peters (surprise...)

    Yes that last line of nr. 3. Damn tricky and I was lucky to get it sort of right in a reasonable timeframe. One needs a bit of luck now and then.

    Thanks again, your feedback helps motivate me for the rest of the lot.
     
  14. pianolady

    pianolady Monica Hart, Administrator Staff Member Piano Society Artist

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    I'm using Schirmers, edited by Mikuli. Not sure if he/she/they added the mordent or if Peters added it, but here is a picture of the last two lines on my copy.
     
  15. techneut

    techneut Active Member Piano Society Artist

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    Yes, I thought that is where it would be. Not so in mine.
    Is it indicated just here, or also in the all other places where this RH descent is played ?
     
  16. pianolady

    pianolady Monica Hart, Administrator Staff Member Piano Society Artist

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    That's the only extra mordent I show. By the way, back on your post of the Mazurka 59/1, I have a repeat sign at measure 12.
     
  17. techneut

    techneut Active Member Piano Society Artist

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    Don't tell me I've missed a repeat ! :shock:
    Will check tonight.
     
  18. MindenBlues

    MindenBlues New Member Piano Society Artist

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    Chris, your Polonaise 26/2 is really great! And, it is already said here, but cannot be repeat too much, your right hand runs are evenly and fast. Congratulations for that! It belongs to the best Chopin recordings I heard from you, and not only from you.

    Your Mazurka op. 63 sounds very well to me too. I don't like to enter the discussion whether here and there is a trill missed, there seems to be different scores, it is also not the most important thing to me. At least I myself did not hear any slips or things what pertubed the listening.

    Also the reverb is not too much, but sounds nice - especially on 26/2, the staccato notes in the meno mosso part - it is not only a reverb, it is a little echo too, but decent. Have to use the same kind of reverb in CoolEdit. Can you tell the exact name of the reverb, please?

    No, I don't find your playing emotionless. You are a great player, and you have marvelous sight reading abilities. However I agree with some other comments that - for my taste - you could do more, on some recent Chopin recordings (the other mazurkas you posted some days before e.g.) even much more expressionwise. I could hear on your Polonaise, also Mazurka 63/3, that you play with emotions. It could be only ... even more.

    Maybe it is easier to give more expressions if the head is relieved from looking to the score. Playing from memory is not only to impress listeners, some say that only if one can play from memory, one truely knows the piece. What will have influence on the expression while playing, I am pretty sure.

    Already the kind you answer corresponding remarks from listeners here, says much. I agree, "exaggerated rubato" - noone likes this. Exaggerated means artificial, but what counts is honesty. And there exist honest rubato, this comes if one feels that the melody line demands for it.
    You speak of "not a sentimental pianist". Beeing sentimental, that has also a something slightly negative taste. Playing with lots of feeling however has not at all bad taste to me. Just the opposit. You wrote once to me, that playing the right notes is only the first step. Yes, I agree!

    To give the Mazurkas "tender loving care" is the right approach in my opinion too. If you could anyhow manage to play really soft (that is what I associate in first rank with tender playing!), to give the piano that mellow silvery sound on suitable places, it would be even more convincing to me. I know that it is difficult with a heavy action piano, but don't think it is much easier on an easy going action - playing soft and even is never easy.
     
  19. techneut

    techneut Active Member Piano Society Artist

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    Thanks Olaf. Johnmar had me worried there for a moment about the lack of emotion ;-)

    Funny you mention the staccato sections in the Polonaise, these are what bother me about this recording. I am always afraid to produce a real dry staccato so I fumble with the note values and the pedal, and the result is not always convincing. Seems to sound a bit pasty when I listen back to it.

    Yes it would be nice to produce a soft silvery tone.... But I find the Edirol does not register very soft notes, now that I have it further away from the strings. I am not sure it can be done - but I'm working on it. Perhaps the next batch of Mazurkas will improve a little.

    I am pretty sure that many professional recordings are doctored with in terms of dynamics. In a concert hall it is a different ballgame, as the sound must travel much further. I think there the pianissimo exists only by the grace of the fortissimo.

    The Cooledit reverb is the very first in the list, "Light Concert Hall".
     
  20. techneut

    techneut Active Member Piano Society Artist

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    (Sigh of relief...) I have a double bar line there, but no repeat. These seem to be used in my score whenever there's a contrasting section in terms of tempo or key signature.
     

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