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Discussion in 'Submission Room' started by John Robson, Jan 29, 2007.
Having Fun,Op.27. Kabalevsky
My old Alfred's Intermediate Piano Book (level 6) labels this as "Scherzo". So this is how it is suppose to sound!? Haha! I was way off! :x
Never heard that Kabalevsky piece before, but I like your playing - it sounds really like fun. Good job on that!
The waltz then. I think you played all the notes and I heard only one spot with wrong notes in the middle part (you did it the 2nd right, so no reading error). And you can keep rhythm well.
But, you play the thing "almostwithoutspacebetweenthephrases". I am no friend of too much rubato, but really, if ol' Chopin made the effort to write melody bows and expression markings you should try to follow them or replace by something what you find more convincing - instead neglect that almost completely.
That means, on the expression part you can do much more - imagine a singer who sings the phrases - he/she would turn the face to blue after a minute or so without breathing!
Also, some left hand notes, first quarter of the bars, sound staccato. At the end it's a waltz so better push the pedal more consequently on the first quarter of a bar so that this note sounds longer.
I am sure, with more polishing on the expression side you will get something really good here!
Overall, both are very good performances but as Olaf said, a little more rubato would sing the melody better on the Chopin waltz. You know, Chopin was a great admirer of Italian Opera and many of his compositions includes traces of the human voice. But this is a personal reflection and as you are the interpretar, you may do as you wish.
The Kabalevsky piece was well done.
Chopin Waltz - To me, it sounded too steady. That may sound strange to you, but what I mean is that although it is a waltz, and yes waltzes have three beats per measure, but I think that every measure doesn't have to be exactly the same. They can be altered slightly by the pedal, tiny changes in tempo etc... When you hear ballet music, the beat is very steady so the dancers can follow it, but if it is not used for dancing, then you can be a little more free. I have been know to play too steady myself and it is only recently that I have begun to let go of that. You don't have to add any more rubato, just very the texture of the piece, adhere to the phrasing, let your mind get into it more.
At measure 33 I have it marked con amina. Here you can play a little faster, maybe use less pedal, play delicately to make it sound more animated.
Your dynamics were okay but could be more - could be the recording itself, though.
Another little thing with the major middle section: you should expose the dotted rhythm and the accents a bit more. I mean, make the 16ths a bit shorter and lighter and play the accented notes loudlier, a bit march-like. OK, this is quite a minor issue, but it would be worth it to pay attention to these small things because you have really mastered this in terms of technique.
Great little thing that Kabalevsky piece ! And very sprightly played. Nothing to niggle about except a couple of ill-tuned strings. Any more where that came from ?
The Chopin is well played too, it has more character and charm than some of the Waltzes from your other posting. Some slips in the double-note bars but nothing serious. In bar 7 and all similar bars, your LH plays a c# in the middle which should be a b natural (at least according to Paderewski). But more can - and should - be made of a waltz.
Let me emphasize once again that you are a very steady and conscientious player, and that is a great asset. You have a sound base to work on. Now throw in a bit more freedom and flair, and it will be very good.
Beautiful Chopin. I liket the way you plaed it! I also liked the other piece. Don't believe I am familiar with it. Thanks for sharing!
And these are up too. The Kabalevsky is on the new __Various page.
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