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Rachmaninov Moment Musical op.16 n.4 (new version)

Discussion in 'Submission Room' started by Sandro Bisotti, Dec 4, 2008.

  1. Sandro Bisotti

    Sandro Bisotti New Member Piano Society Artist

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  2. techneut

    techneut Active Member Piano Society Artist Trusted Member

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    This one has been replaced. You may need to delete your browser's Temporary Internet Files before you actually hear the new version.
     
  3. Rachfan

    Rachfan Active Member Piano Society Artist

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    Bravo, Sandro!

    You deserve much credit for this wonderful rendition of the Moment. It is a huge improvement over your earlier recording in my opinion. Your virtuosity here was always at the service of art as you performed this piece. The melodic elements of the piece were etched with exceptional clarity, the execution of difficult figuration was always well controlled, pedaling was more studied and effective, and you played the long, sweeping line of the piece with fine fluidity, expressiveness, and beauty. It was obvious that you were listening carefully to every note you played. Excellent!

    David
     
  4. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist Trusted Member

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    I tried to find Scriabins sonate K22 here, but found again the same Rachmaninov-piece like in the other topic with the headline "Scriabin Sonate K22", to which I wrote my statement there. So, there must have something gone wrong, I found out with my cleverness. :lol:
     
  5. techneut

    techneut Active Member Piano Society Artist Trusted Member

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    Impressive performance, if a bit relentless and clangy (piano's not very well in tune). And there are some ugly edits at 0:53, 1:07, and 1:33. I'm not sure of the one at 0:53 but the other two sound nasty.
     
  6. techneut

    techneut Active Member Piano Society Artist Trusted Member

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    Scriabin K22 :lol:
    Yes I goofed that one up but I have corrected it. Go back there and listen to it.
     
  7. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist Trusted Member

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    Techneut wrote:
    O.k., o.k., somehow that Scriabin seems to be haunting in my head this evening. :shock: :lol:

    So, I try to delete my Rachaninov-critique in the SCARLATTI-topic and repeat here again my statements to the Rachmaninov-piece:
    Hi Sandro,
    nice to see and to hear you here again. I hope, you will stand the critique on this site here in future. For me the advices and critiques I receive here are very valuable and I never would leave this great site.
    You are a very musical pianist with much fantasy and creativity, but for me the creativity has always to move in certain limits the composer sets with the score, which have not to be overgone. (That´s just a general statement respective opinion of me.)
    I listened to this piece (it´s Rachmaninov BTW and not Scriabin like in the headline) with score and I have to say you play this piece really properly and very expressively. So, this is really a great job! May be there could be more dynamic contrast. F. ex the passages in pp and ppp could be more silent, did you try to play them with left pedal? I think, that could help a lot. The end could be more forte (ffff is described in the score).
    In summary it´s a great technical and musical achievement. Bravo!
     
  8. Sandro Bisotti

    Sandro Bisotti New Member Piano Society Artist

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    Congratulations, not so easy (I hope easy only for a well trained ear as your) to find the two connection points at 1.07 and 1.33. And yes, also the piano tuning is not uncanning
    (after 2-3 weeks since tuning it begins to loose precision). Thank you for attention and comment,
    Sandro
     
  9. Sandro Bisotti

    Sandro Bisotti New Member Piano Society Artist

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    Thank you for so generous words. This technique level is about my actual limit, and I began 2 years ago to study this piece only with a technical excercise approach (I ever play 2-3 pieces exceeding my technical limits, hopinh this can help, associated with pure technical work, to push over and over this limit. And let's remember that increasing mechanical technique is useful also when we play simple pieces, because the increase of sound control ). A few months ago I discovered to be able to play it and not only to use it as excercise, then these recordings. My version here tries to put in evidence drama and concentration of musical matter. More important IMHO here the sense of panic and falling down. Control and clarity (I hope here at decent levels) must not never be more important than mythological and psycological meanings. The day I'll recognize to be obedient more to "clarity and control" than to "obedience to the gods that speak using musical language", I'll stop with piano and music.
    All the best David,
    Sandro
     
  10. Sandro Bisotti

    Sandro Bisotti New Member Piano Society Artist

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    The dynamic signs are clues, ambitions, helps for the player (certain pianists, as for example Pogorelich here, plays p at the beginning, where is written FF, and I find so silly those
    critics and listeners that criticize him for this choices, without considering the general effect).
    But my version here is about "high fidelity" , and the FFF are not at 90 db and the ppp at 3 db because this is not possible. Again, these extreme FFFF and ppp are more an ambition, a suggestion than a reality, and infact no one ( at least no one among the 12-12 versions I know) is able to play in the reality with a such extreme "on the paper" contrast.
    Let's consider also other 2 aspects: the acoustic of a grand in a small room (the weaker sounds are already a mF) and the compression both in digital encoding and in reproducion of sound (if we hear from a 60dB amp-speaker, it is impossible to find these dynamic extremes).
    Thank you for attention and comment,
    Sandro
     
  11. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist Trusted Member

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    Hi Sandro,
    to a certain point you are right, the dynamics are relative. And it´s probably difficult to distinguish between a fff and a ffff or a ppp and a pppp. From this you are right. Yes, I know some interpreters take liberty concerning the dynamic-prescriptions of the composer (and in some first rare cases I do this, too, sometimes). But I think, left pedal could be a help to make the ppp-passages more silent and the end could be more forte?!
     
  12. Sandro Bisotti

    Sandro Bisotti New Member Piano Society Artist

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    But surely, you are right, and I there use the left pedal.
    And the lack in dynamics in that passage ban be explained by my argumentations, plus the more obvious : my technical limits (as pianist and sound engineer). But I repeat, also the big masters on yT, with the same audio (low) quality, in that passage do not play ppp, at the low level both you and I think the ppp.
    Than you Andreas,
    Sandro
     

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