Please see the earlier posting: Prelude, No. 1 in C for more information about Kazhlayev's interesting bio.
Hi David, that seems to be an excellent performance as we are used by you. I have enjoyed it very much. Unfortunately I couldn´t find the score, even not on Mikes archive, so I can not give you a more detailed comment. I have uploaded it to the various section and I also updated the list of recordings in your member profile. Do you plan to record more of the preludes by Kazhlayev?
Hi Hi Andreas, I'm glad that you enjoyed hearing Prelude No. 2. It's different in its own way from No. 1. Thanks for uploading my recording. My next effort will be learning Prelude No. 4, which to me sounds like a derivative from another composer. You'll know what I mean by that when you hear it. It'll take several weeks to get a good recording. I want to produce a threesome of recordings. One more to go! If I succeed, then this music will not have to reside in "Various". Thanks again. David
Hi David, Thanks for another fascinating insight into the world of Kazhlayev! This music sounds simple but isn't - it never does what you expect it to. Very often you mark a strong point or climax by allowing the left hand to anticipate the right slightly - I'm particularly interested in your use of this technique as it's something I've often felt I should do but don't yet have in my toolbox. I think some pianists do it much more than others? Maybe worth a discussion thread... Anyway I shall watch for number four with interest.
Hi neural, Thank you for your interesting thoughts about Kazhlayev and his world. Your observation on his unexpected changes is right on. He sometimes manages these changes through a skillful set of dissonances to surprise even the pianist. Yet like Faure, for instance, he makes sure that the dissonances all aim to land back into the B flat key signature . Liszt and other pianists of the Romantic Age sometimes proceeded to anticipate the climactic chord with the deep octave, for example, being played slightly ahead of the flow. It can in fact add to the drama. This technique was most conspicuous during Paderewski's tours in the United States. I also believe that in the Romantic Age and Late Romantic Age, there was not the same rigidity in the numerous rules found in the Baroque and Classical eras. Instead there were rubatos, nuances, taking risks, liberties, dynamic changes, etc. But still, anything and everything to do with aesthetics had to be played in good taste. Brace yourself, but awhile back (might have been in one of the periodicals), it mentioned that the the anticipatory left hand was returning to performance. We shall see. Thanks again for listening and commenting! David
Hi David, I´m glad to hear you plan a third one of preludes. I will create a Kazhlayev section, when you will have posted your third recording.
Hi Andreas, Thanks! I spent time today in starting to practice the third Kazhlayev piece. It has its difficulties, but I think I'm up to the challenge. David
Hi David, that sounds well and I wouldn't expect anything other of you. Have much pleasure and success!
Hello David, I confess I did not know this composer before. Intriguing... Your rendition is opening a new door for me. I am looking forward to hearing more preludes ! Regards,
Hi Francois, Thank you for listening to these Kazhlayev preludes. I find them harder as I go further. This composer is late romantic, but mixed with some modern too. The prelude I'm now practicing abruptly abandons key signatures and adds new accidental tones too. Then as I'm playing, I'm trying to keep all those in my memory. For me it's a struggle. I'm going to prevail though! Thanks again for your comments. David
Hi, I signed up to tell you that you played well. I'll be listening to other pieces as well! Cheers, Jason Singapore Piano Hub
Hi Jason, Thanks for taking time to listen to that recording and your commenting too. I appreciate it! David