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Complete Chopin Preludes (1)

Discussion in 'Submission Room' started by DavidBryce, Jun 17, 2009.

  1. camaysar

    camaysar New Member

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    Hi David, nice to meet you and hear you,

    You have a nice musical sense, and an attractive soft touch. The one general criticism that I would apply to many of your performances is "character". Maybe you could work on stronger projection of musical flow and character, of your ideas about what Chopin is saying.

    Best advice: listen! Listen to great players, not to imitate them, but to hear their strength of musical intent, to hear what it means to take the musical flow of a piece firmly in hand. I happen to favor the older generation (1920's-40's), who can offer a stronger lesson in this area, but of course there are living pianists from whom you can learn!

    James
     
  2. DavidBryce

    DavidBryce Member Piano Society Artist

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    Hi James...

    This is another interesting debate...I think perhaps this is a fair reflection that my interpretations are too early in their gestation.

    I think perhaps also a reflection that I need to air these now to a variety of audiences. I don't take lessons any more for instance, and used to feed off a very good evening class in London (harder to get critical mass in present surroundings).

    I must admit I have tended to listen to some recordings early in study, but then consciously chose to switch off from these, and take the view that a lot of what I need is there on the page in a good (I have Henle) edition (including good notes).

    I don't deny that perhaps some of this is fear that I will become discouraged when I hear the masters, but also fear losing a very clear idea of what I want to achieve. Perhaps I should take more encouragement that I am usually ultimately disatisfied over some aspect of someone else's recording!?

    You clearly feel that on balance listening to recordings aids the process (I appreciate we all have to build on what's gone before) and I guess I just need fortitude in my own ideas to avoid the risk of imitation. Can you recommend some for the Preludes in particular?
     
  3. camaysar

    camaysar New Member

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    Hi David,

    I neglected to mention that I did not mean for you to listen to recordings of the Preludes, but recordings in general. You can learn from great pianists' approach to everything they play. I understand your desire to remain independent in your study of the Preludes. But you can learn much by listening to Etudes and Valses, for example.

    Tastes range widely, but I think Alfred Cortot would be a good start in listening for interpretation. Also Paderewski, Rosenthal, Friedman, and Pachmann (a greater pianist than many recognize) though Cortot made far more recordings, which makes him more valuable for your purpose, in a sense. The Russian pianist Maria Yudina also has a strong personal interpretive sensibility.

    It's not about approving of specific interpretations, or even being as forceful as these pianists, but listening for the approach in general. This could be of very great value to you.
     
  4. felipesarro

    felipesarro New Member

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    I don't know all the other pianists you mentioned (only Paderewski by name...), but Cortot rules! 8)
     
  5. DavidBryce

    DavidBryce Member Piano Society Artist

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    Not there yet by any means I know, but here's no. 16 slips included, for comment.
     
  6. techneut

    techneut Active Member Piano Society Artist Trusted Member

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    I've always found this one a real bastard. One of the few preludes that make the complete set such a tough nut to crack.

    The main comment about your take on it is that, well, umm... it needs a little more work :wink: You start out rather confidently but get into some real trouble later on. I guess nothing less than good hard donkey work will do here, it's just one of these pieces. But do yourself a favour and print/photocopy it out, to avoid that impossible page turn.
     
  7. DavidBryce

    DavidBryce Member Piano Society Artist

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    Indeed having charted my progress on this last few days I know I can crack it.

    Expect to hear from me after summer holiday period when I'll submit better quality all round. :oops:

    Any technical/practicing tips on no. 19? I have to jump most of these (relatively small hand but Chopin must have done it) and accuracy is currently off.

    This is the one, out of all of them I fear most but want to avoid make compromises... "donkey work" in this case is just not sufficient, and there is some key technical approach I'm missing: a movement of the wrist perhaps, a note to aim for in each cluster (which even appears different to me for both hands and may even lead to some interesting syncopation).

    I also note that less on your site have sucessfully attempted this one!
    :wink:
     
  8. techneut

    techneut Active Member Piano Society Artist Trusted Member

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    Yes, this one is the cruellest of the lot. And to make it worse you have to make it sound as if it isn't, it needs to sound so smooth and serene. This one's always utterly defeated me so I cannot give any advice. Yes it may be just a certain pivoting movement that could do the 'trick'. Good luck !
     

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