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as Krishna said to Arjuna on the battlefield... #1343290
01/07/10 04:36 PM
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Entheo Offline OP
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"be not attached to the fruits of your action; your commitment is to action alone."

with that said here's a link to my offerings:

http://www.youtube.com/user/edkriege

caveat emptor -- i've been playing about 10 years as an adult beginner (plus a year or two as a kid). given the effort to climb these 'mountains' i wanted to have a record of summiting, albeit clumsily. hence, a Zoom Q3 for christmas and away we go.

Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1343296
01/07/10 04:43 PM
01/07/10 04:43 PM
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Great playing! I love it! Wonderful feeling.

Probably my favorite quote from the Bhagavad Gita BTW. Were I a soldier I think I would carry that book into battle.


"Nothing moves...where would it go?"
www.youtube.com/Biffer5
www.peytonart.com

Re: as Krishna said to Arjuna on the battlefield... [Re: Peyton] #1343300
01/07/10 04:48 PM
01/07/10 04:48 PM
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Land of the never-ending music
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Very well played!



[Linked Image]

Music is my best friend.


Re: as Krishna said to Arjuna on the battlefield... [Re: ChopinAddict] #1343328
01/07/10 05:26 PM
01/07/10 05:26 PM
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Loved it! Gorgeous! Particularly liked the position of the camera as well.

Re: as Krishna said to Arjuna on the battlefield... [Re: LimeFriday] #1343542
01/07/10 11:22 PM
01/07/10 11:22 PM
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I loved it -

Cathy


Cathy
[Linked Image][Linked Image][Linked Image]
Practice what you suck at - anonymous
Re: as Krishna said to Arjuna on the battlefield... [Re: jotur] #1345540
01/10/10 10:01 AM
01/10/10 10:01 AM
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Entheo Offline OP
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new addition - Scarlatti Sonata L454 in C major:

http://www.youtube.com/watch?v=FOsOI213U8M

Zoom Q3 location certainly more visually interesting, but audio quality takes a hit. Any preferences regarding Q3 location? thanks!

Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1345544
01/10/10 10:09 AM
01/10/10 10:09 AM
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My favourite:

Seeing your infinite form with many mouths, eyes, arms, thighs, feet, stomachs, and many fearful teeth; the worlds are trembling with fear and so do I, O mighty Lord. (11.23)

As moths rush with great speed into the blazing flame for destruction, similarly all these people are rapidly rushing into Your mouths for destruction. (11.29)

You are licking up all the worlds with Your flaming mouths, swallowing them from all sides. Your powerful radiance is burning the entire universe, and filling it with splendor, O Krishna


snobbyish, yet maybe helpful.
http://keyboardclass.blogspot.com/

Brahms Intermezzo op. 118 no. 2 [Re: Entheo] #1347469
01/12/10 09:35 AM
01/12/10 09:35 AM
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Entheo Offline OP
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latest addition:

http://www.youtube.com/watch?v=3xXsyNVqWx4

Q3 back on the piano's plate; much better audio quality there.

now back to work...

Ginastera - Danzas Argentinas, Op.2: II. Dance Of The... [Re: Entheo] #1356224
01/23/10 12:11 PM
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...Delightful Young Girl:

http://www.youtube.com/watch?v=hFFahXm6-X8

i really struggle with the leaps... but it'll have to do for now.

double post... [Re: Entheo] #1356227
01/23/10 12:13 PM
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{removing double entry}

Last edited by Entheo; 01/23/10 12:55 PM.
Scarlatti Sonata L23 in E major... [Re: Entheo] #1362476
01/31/10 06:29 PM
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Entheo Offline OP
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Kp. 380, Longo 23. This sonata is (or should be) delightfully light yet it's deceptively difficult -- I can see why it's required in so many piano performance juries! Plenty of rough edges to work on, but for now my humble offering:

http://www.youtube.com/watch?v=hyVAceg4TFU

BTW, don't be shy about offering your constructive criticisms -- I'm a big boy and my identity isn't too closely tied to the piano! wink

Re: Scarlatti Sonata L23 in E major... [Re: Entheo] #1362496
01/31/10 06:51 PM
01/31/10 06:51 PM
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Originally Posted by Entheo
Kp. 380, Longo 23. This sonata is (or should be) delightfully light yet it's deceptively difficult -- I can see why it's required in so many piano performance juries! Plenty of rough edges to work on, but for now my humble offering:

http://www.youtube.com/watch?v=hyVAceg4TFU

BTW, don't be shy about offering your constructive criticisms -- I'm a big boy and my identity isn't too closely tied to the piano! wink


Very nice! My only quibble is that sometimes you are using too much damper pedal and blurring the delicate figurations, particularly at the beginning. Love this sonata, BTW. Have you heard Horowitz play it?


Close only counts in horseshoes, hand grenades, and nuclear weapons.
Re: Scarlatti Sonata L23 in E major... [Re: Horowitzian] #1362505
01/31/10 07:09 PM
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Originally Posted by Horowitzian

Very nice! My only quibble is that sometimes you are using too much damper pedal and blurring the delicate figurations, particularly at the beginning. Love this sonata, BTW. Have you heard Horowitz play it?


thank you horowitzian. yes too much damper pedal but it's insurance against my poor technique shocked . and yes, i've listened to horowitz's moscow '86 performance umpteen times -- simply gorgeous. another wonderful interpretation is alexander ghindin's (on youtube). cheers.

Re: Scarlatti Sonata L23 in E major... [Re: Entheo] #1362511
01/31/10 07:18 PM
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Originally Posted by Entheo
Originally Posted by Horowitzian

Very nice! My only quibble is that sometimes you are using too much damper pedal and blurring the delicate figurations, particularly at the beginning. Love this sonata, BTW. Have you heard Horowitz play it?


thank you horowitzian. yes too much damper pedal but it's insurance against my poor technique shocked . and yes, i've listened to horowitz's moscow '86 performance umpteen times -- simply gorgeous. another wonderful interpretation is alexander ghindin's (on youtube). cheers.


No problem! smile

The Scarlatti he played in Moscow was wonderful. thumb However, nothing beats these breathtakingly beautiful sonatas he played at the '68 TV concert.



Close only counts in horseshoes, hand grenades, and nuclear weapons.
Re: Scarlatti Sonata L23 in E major... [Re: Horowitzian] #1362514
01/31/10 07:21 PM
01/31/10 07:21 PM
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Originally Posted by Horowitzian
....Very nice! My only quibble is that sometimes you are using too much damper pedal and blurring the delicate figurations, particularly at the beginning. Love this sonata, BTW. Have you heard Horowitz play it?

Horowitz is how I discovered this piece, and it was my first introduction to Scarlatti. Before that, "Scarlatti" was barely a name to me and I had no idea who or what he was.

Entheo: I don't think there's too much pedal (at all, really). I think this is TERRIFIC -- truly superb, no exaggeration.
Let me put it this way: I play the piece, and this is better than what I do, so I certainly hope it's real good. ha

Re: Scarlatti Sonata L23 in E major... [Re: Entheo] #1362516
01/31/10 07:23 PM
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Originally Posted by Entheo
.....yes too much damper pedal.....

I cast a vote for not using any less.

Quote
.....it's insurance against my poor technique shocked .....

Get outta here!!! ha

Re: Scarlatti Sonata L23 in E major... [Re: Mark_C] #1362520
01/31/10 07:25 PM
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FYI: "Too much pedal" to me means blurring the notes, of which there was a little in Entheo's recording. Horowitz, IIRC, drew the ire of purists for even daring to touch the pedal while playing Scarlatti. I don't think anyone can argue with the end result. smile


Close only counts in horseshoes, hand grenades, and nuclear weapons.
Re: Scarlatti Sonata L23 in E major... [Re: Horowitzian] #1362527
01/31/10 07:35 PM
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Originally Posted by Horowitzian
.....Horowitz, IIRC, drew the ire of purists for even daring to touch the pedal while playing Scarlatti. I don't think anyone can argue with the end result. smile

I sure wouldn't, but would you believe......On another site, there's a very knowledgeable (but somewhat provocative) music buff who said (and I quote): "Horowitz sucks at Scarlatti." Fortunately I've never come across any view like that before, and I hope I never will again. ha

I didn't know that Horowitz or anyone ever was particularly criticized for using pedal in Scarlatti, but to the extent that there's a (fairly small) school of thought that you should "never" use pedal for music of that period, I wouldn't be surprised if there have been some such voices.

BTW......for all the bigger great stuff that Horowitz is more well known for, IMO his Scarlatti is maybe the very most remarkable of anything he played. IMO the only challengers would be Stars & Stripes Forever and a particular Chopin mazurka. Although little else he did would be very far behind.

Re: Scarlatti Sonata L23 in E major... [Re: Horowitzian] #1362532
01/31/10 07:43 PM
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I think the performance of L.123 could use some more dynamic contrast and shaping of the phrases(talking about the OP and not Horowitz here). I thought that the melody in the part where the RH plays the F#C# motive was too soft... especilly the top note.

Besides Horowitz I like Pletnev, Pogorelich, Gilels, and Maria Tipo for Scarlatti. Too bad Scarlatti is a relative rarity in recitals. I've only heard it played in a few. Perhaps the most memorable was by Maria Tipo who played the 4 Chopin Ballades followed by 12 Scarlatti Sonatas at the Met Museum of Art a long time ago.

Last edited by pianoloverus; 01/31/10 07:53 PM.
Re: Scarlatti Sonata L23 in E major... [Re: pianoloverus] #1362551
01/31/10 08:20 PM
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Boy, you people are tough! ha

But I'm wondering if maybe y'all don't much disagree on how basically wonderful it is, and are just offering things to make it even better or more to your taste.

Am I alone in thinking this is top-notch?
(And even if I am, that's my story and I'm sticking to it.) smile

It's a tremendous performance. And I'm usually not easy to please on Scarlatti.

BTW.....in my experience, Scarlatti isn't rare on recital programs. To some extent it's probably because the performers that I'm interested in would tend to be people who like Scarlatti. But that's not the whole thing, because a lot of what I attend isn't concerts by performers that I particularly choose.

Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1362556
01/31/10 08:24 PM
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BTW.....off the subj, but props to you for using mainly the LONGO numbers. ha

Re: as Krishna said to Arjuna on the battlefield... [Re: Mark_C] #1362592
01/31/10 09:07 PM
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Originally Posted by Mark_C
Originally Posted by Horowitzian
.....Horowitz, IIRC, drew the ire of purists for even daring to touch the pedal while playing Scarlatti. I don't think anyone can argue with the end result. smile

I sure wouldn't, but would you believe......On another site, there's a very knowledgeable (but somewhat provocative) music buff who said (and I quote): "Horowitz sucks at Scarlatti." Fortunately I've never come across any view like that before, and I hope I never will again. ha
[...]


Whoever said that is nuts. crazy Perhaps a patient of yours? grin

I agree that Scarlatti is at least one of H's greatest achievements. smile


Close only counts in horseshoes, hand grenades, and nuclear weapons.
Re: Scarlatti Sonata L23 in E major... [Re: Mark_C] #1362706
01/31/10 11:09 PM
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mark, horo, lover... thank you for your comments, truly.

for me the piano is somewhat of a battlefield i must say... my difficulty with technical passages, lack of experience with the various styles; also my piano (which i love) presents some challenges due to its size, action, etc. etc.

i find when recording that i must make compromises to achieve, within the time available, something satisfactory to present to such a learned audience as exists on this forum. your criticisms are well founded and are well appreciated. any praise is more than kind.

re: scarlatti -- some have said that time is better spent on bach, but i think scarlatti holds a world of joy and challenge that is - almost - approachable with limited skills. scarlatti's music is perhaps some of the most under-appreciated or, at least, under-exposed music which contains an omnipresent joie de vivre not found with any other composer i can think of.

in the right hands i'm a sucker for scarlatti, and agree that horowitz, gilels and tipo top my list of scarlatti interpreters.

Mozart Sonata in F major, K 332, 3rd mvmt, pt. 1 [Re: Entheo] #1369312
02/09/10 10:17 AM
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The tempo should be considerably faster (allegro assai), but for now it's the tempo with which I have some control over the movement. This first section should repeat (which I've not done here) and there's another section (Part 2) to follow -- once I get it under better control!

http://www.youtube.com/watch?v=_EBhOJtGZ6k

ps - our own Vica/Truecrypt has the 1st and 2nd movements on YouTube, and they're beautiful. Thank God he hasn't put the 3rd up there; I would NOT want to invite the comparison smile

Chopin Prelude in Db Major Op. 28 No. 15 [Re: Entheo] #1395811
03/14/10 09:04 PM
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Re: Chopin Prelude in Db Major Op. 28 No. 15 [Re: Entheo] #1397484
03/17/10 02:30 AM
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Very nice, Entheo! I enjoyed listening to that immensely. You obviously have good command of the notes, and are confident in performing the piece.

Now for the nitpicky stuff. smile

  • You lost the first note of the melody! Gotta be careful not to do that.
  • Remember that the piece is marked Sostenuto. This term is defined as such by Dolmetsch Online:
    Quote
    soustenu (m.), soustenue (f.) (French) or soutenu, soutenue, held, sustained, sostenuto (Italian), dignified

    I would like to hear a little more smoothness and sustaining.
  • Consider how you are separating phrases. In bar 8, one phrase ends and another begins in the melody. I'm not really hearing the separation. A lift between the phrases will help you out.
  • While this is a matter of personal taste, I recommend letting the tempo "breathe" a little. Don't be sloppy, of course; just be a little less rigid.
  • Bar 40. Where's the fortissimo? You built up the dynamics wonderfully up to this point, and then someone let the air out of you tires! Be sure to keep the flow going! Otherwise, good job at bringing out the poco più animato.
  • Bar 79. The fioratura carries the smorzando indication; I really didn't hear it "die" as it should.
  • Bar 81. Nice slentando!
  • Bar 87. There is a pianissimo indication; the dynamic level sounds the same as the preceding measures. You need to quiet that down a bit.


Overall, a very well-done performance! Thanks for sharing. smile


Close only counts in horseshoes, hand grenades, and nuclear weapons.
Re: Chopin Prelude in Db Major Op. 28 No. 15 [Re: Horowitzian] #1397608
03/17/10 09:29 AM
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Originally Posted by Horowitzian
Very nice, Entheo! I enjoyed listening to that immensely. You obviously have good command of the notes, and are confident in performing the piece. Now for the nitpicky stuff. smile


thank you horowitzian -- fire away! smile

btw, i'm thinking of offering myself up as an experiment in, for lack of a better term, 'pianoworld group gestalt lesson experimentation', whereby learned pianoworld members such as yourself comment on my attempts and i will try to incorporate feedback into subsequent versions, for 'all the world' to see. sound like fun?

Originally Posted by Horowitzian

You lost the first note of the melody! Gotta be careful not to do that.


yes you're right it got lost. it 'sounded' when i played it, but for reasons i'll explain momentarily it did indeed get lost, and i will have to compensate for that in the future.

Originally Posted by Horowitzian

Remember that the piece is marked Sostenuto. This term is defined as such by Dolmetsch Online: "soustenu (m.), soustenue (f.) (French) or soutenu, soutenue, held, sustained, sostenuto (Italian), dignified." I would like to hear a little more smoothness and sustaining.


yes i agree; although i have the notes the piece really needs more time to become 'wine'. problem is, limited opportunities to get a take i can live with, and the bobbles in this piece bother me, so another take is coming, hopefully incorporating your feedback & elimination of errors.

Originally Posted by Horowitzian

Consider how you are separating phrases. In bar 8, one phrase ends and another begins in the melody. I'm not really hearing the separation. A lift between the phrases will help you out.


yes, i played that turn ham-fisted.

Originally Posted by Horowitzian

[*]While this is a matter of personal taste, I recommend letting the tempo "breathe" a little. Don't be sloppy, of course; just be a little less rigid.


i'm reading schonberg's "the great pianists" right now and what he has to say about chopin and rubato is very interesting. this is something that i daresay will take a few more years to get a proper feel of.

Originally Posted by Horowitzian

Bar 40. Where's the fortissimo? You built up the dynamics wonderfully up to this point, and then someone let the air out of you tires! Be sure to keep the flow going! Otherwise, good job at bringing out the poco più animato.


so here's my dilemma -- i'm recording on a Zoom Q3, and it only has 3 levels of gain: high, low, and auto. the first two don't work (high distorts and low is too soft), and auto gain is constantly adjusting the volume so as to take the dynamics out of the mix! and the reason the first note was lost is that i have to 'set the gain' by playing a loud chord at the beginning of the recording, which results in the first notes being especially soft. a fixed mid-gain should have worked perfectly, but they didn't include one. frustrating, really; but i have to live with it for now.

Originally Posted by Horowitzian

Bar 79. The fioratura carries the smorzando indication; I really didn't hear it "die" as it should.


i'll work on that.

Originally Posted by Horowitzian

Bar 81. Nice slentando!


thank you!

Originally Posted by Horowitzian

Bar 87. There is a pianissimo indication; the dynamic level sounds the same as the preceding measures. You need to quiet that down a bit.


partly me, partly the auto gain. i'll work on that.

Originally Posted by Horowitzian

Overall, a very well-done performance! Thanks for sharing. smile


thanks again for your feedback, horowitzian! stay tuned for V2...

Re: Chopin Prelude in Db Major Op. 28 No. 15 [Re: Entheo] #1397618
03/17/10 09:42 AM
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No problem, my good mate! smile

Is there any way you could use the Zoom as an external mic, and plug it into your computer? You might not get video, but it would allow better input gain control via Audacity or whatever DAW you use.

I've always had absolutely rotten luck with any sort of 'automatic' gain control. It's better to manually set it just high enough to prevent the loudest part of the piece from clipping.


Close only counts in horseshoes, hand grenades, and nuclear weapons.
Clair de Lune [Re: Horowitzian] #1501124
08/22/10 06:46 PM
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after a bit of a hiatus, we march forward...


Persian Song by G.I Gurdjieff & Thomas de Hartmann [Re: Entheo] #1503784
08/26/10 06:22 PM
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some while back during an exchange regarding the music of Gurdjieff/de Hartmann someone asked why i hadn't recorded any, so here's an example, with commentary below...



The following is an extract taken from a book by from P. D. Ouspensky entitled "In Search of the Miraculous". The speaker is Gurdjieff:

You must first of all remember that there are two kinds of art, one quite different from the other -- objective art and subjective art. All that you know, all that you call art, is subjective art, that is, something that I do not call art at all because it is only objective art that I call art.

To define what I call objective art is difficult first of all because you ascribe to subjective art the characteristics of objective art, and secondly because when you happen upon objective works of art you take them as being on the same level as subjective works of art.

I will try to make my idea clear. You say -- an artist creates. I say this only in connection with objective art. In relation to subjective art: that with him 'it is created.' You do not differentiate between these, but this is where the whole difference lies. Further you ascribe to subjective art an invariable action, that is you expect works of subjective art to have the same reaction on everybody. You think, for instance, that a funeral march should provoke in everyone sad and solemn thoughts and that any dance music, a komarinsky for instance, will provoke happy thoughts. But in actual fact this is not so at all. Everything depends upon association. If on a day that a great misfortune happens to me I hear some lively tune for the first time this tune will evoke in me sad and oppressive thoughts for my whole life afterwards. And if on a day when I am particularly happy I hear a sad tune, this tune will always evoke happy thoughts. And so with everything else.

The difference between objective art and subjective art is that in objective art the artist really does 'create,' that is he makes what he intended, he puts into his work whatever ideas and feelings he wants to put into it. And the action of this work upon men is absolutely definite; they will, of course each according to his own level, receive the same ideas and the same feelings that the artist wanted to transmit to them. There can be nothing accidental either in the creation or in the impressions of objective art.

In subjective art everything is accidental. The artist, as I have already said, does not create; with him 'it creates itself.' This means that he is in the power of ideas, thoughts, and moods which he himself does not understand and over which he has no control whatever. They rule him and they express themselves in one form or another. And when they have accidentally taken this or that form, this form just as accidentally produces on man this or that action according to his mood, tastes, habits, the nature of the hypnosis under which he lives, and so on. There is nothing invariable; nothing is definite here. In objective art there is nothing indefinite. ... I measure the merit of art by its consciousness and you measure it by its unconsciousness . We cannot understand one another. A work of objective art ought to be a book as you call it; the only difference is that the artist transmits his ideas not directly through words or signs or hieroglyphs, but through certain feelings which he excites consciously and in an orderly way, knowing what he is doing and why he does it. ... principles must be understood. If you grasp the principles you will be able to answer these questions yourselves. But if you do not grasp them nothing that I may say will explain anything to you. It was exactly about this that it was said -- they will see with their eyes and will not perceive, they will hear with their ears and will not understand.

I will cite you one example only -- music. Objective music is all based on inner octaves. And it can obtain not only definite psychological results but definite physical results. There can be such music as would freeze water. There can be such music as would kill a man instantaneously. The Biblical legend of the destruction of the walls of Jericho by music is precisely a legend of objective music. Plain music, no matter of what kind, will not destroy walls, but objective music indeed can do so. And not only can it destroy but it can also build up. In the legend of Orpheus there are hints of objective music, for Orpheus used to impart knowledge by music. Snake charmers' music in the East is an approach to objective music, of course very primitive. Very often it is simply one note which is long drawn out, rising and falling only very little; but in this single note 'inner octaves' are going on all the time and melodies of 'inner octaves' which are inaudible to the ears but felt by the emotional center. And the snake hears this music or, more strictly speaking, he feels it, and he obeys it. The same music, only a little more complicated, and men would obey it.

So you see that art is not merely a language but something much bigger. And if you connect what I have just said with what I said earlier about the different levels of man's being, you will understand what is said about art. Mechanical humanity consists of men number one, number two, and number three and they, of course, can have subjective art only. Objective art requires at least flashes of objective consciousness; in order to understand these flashes properly and to make proper use of them a great inner unity is necessary and a great control of oneself.

Last edited by Entheo; 08/26/10 07:18 PM.
Ravel, Sonatine - II. Mouvement de Menuet [Re: Entheo] #1541091
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Re: Ravel, Sonatine - II. Mouvement de Menuet [Re: Entheo] #1541170
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I think your Youtube site is a perfect example to show that there is an almost unlimited number of great works to play even if one does not have conservatory level technique(which includes me). I looked through the entire list and there's not one piece there that isn't a terrific piece of music.

Here is a particularly great recording of Clair de lune(which you posted earlier)played by the second prize winner at the most recent Chopin Competition(right after the Bumblebee performance on the automatically playing music at his website):
http://www.ingolfwunder.at/

I would work at speeding up your performance of that piece a little.


Last edited by pianoloverus; 10/22/10 04:49 PM.
Re: Ravel, Sonatine - II. Mouvement de Menuet [Re: pianoloverus] #1541258
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thanks pianoloverus. it's been a lot of fun to work up these pieces and record them for youtube. i call it 'the diary of an amateur pianist'... far from perfect, but satisfying to build this little repertoire for my pianoworld & facebook friends.

lovely rendition of clair de lune by wunder. wish i'd have been influenced by it prior to recording it.

Scriabin Étude Op. 2 No. 1 [Re: Entheo] #1561951
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Mozart Fantasia in D Minor... [Re: Entheo] #1580148
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My latest offering; eine kleine Mozartmusik for the holiday season. Please enjoy...





One Year Anniversary Stats... [Re: Entheo] #1586311
12/29/10 10:28 AM
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one year anniversary for my youtube channel and here are the numbers:
  • 16 videos
  • 2000 channel views
  • 5000 upload views

it's been a fun diversion and a rewarding exercise; thanks for listening!

Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1596386
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After an especially challenging day, a bit of a respite. Dedicated to the victims of the Tucson tragedy and their families...



Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1596401
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Hay Entheo.. Did you go to that party in about 2005-7 for Indrek Laul in a suburban piano store?


accompanist/organist.. a non-MTNA teacher to a few

love and peace, Õun (apple in Estonian)
Re: as Krishna said to Arjuna on the battlefield... [Re: apple*] #1596607
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Originally Posted by apple*
Hay Entheo.. Did you go to that party in about 2005-7 for Indrek Laul in a suburban piano store?


yes ma'am, we met there!

Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1596610
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I have a picture of you!

ha ha - I'll have to dig it up.

Last edited by apple*; 01/13/11 10:15 AM.

accompanist/organist.. a non-MTNA teacher to a few

love and peace, Õun (apple in Estonian)
Re: as Krishna said to Arjuna on the battlefield... [Re: apple*] #1596713
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Originally Posted by apple*
I have a picture of you!
ha ha - I'll have to dig it up.


yes i have it... i think i played scriabin on that massive 9 ft estonia...

http://oi52.tinypic.com/wlp3sp.jpg

Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1596731
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frankly, i think that 9 footer needed some voicing of something... i was kind of dissappointed. The 190s there sounded better. Of course, if I had played something a bit more 'boomy', i might have been impressed. I played WTC I #5, the prelude.


accompanist/organist.. a non-MTNA teacher to a few

love and peace, Õun (apple in Estonian)
Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1608361
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More Grieg!



Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1609591
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What a wonderful performance! Just beautiful.

Re: as Krishna said to Arjuna on the battlefield... [Re: Oldrabit] #1610271
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Originally Posted by Oldrabit
What a wonderful performance! Just beautiful.


thank you, ...annie? you're too kind. but speaking of wonderful performances...

http://www.youtube.com/user/OldRabit

Armenian Melody by G.I. Gurdjieff and Thomas de Hartmann [Re: Entheo] #1617862
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Re: Armenian Melody by G.I. Gurdjieff and Thomas de Hartmann [Re: Entheo] #1618019
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Nice one! Great work, Entheo! I like the way it turns into fullness. There is a lot packed into this short little piece. This was a pleasant surprise. grin


I may not be fast,
but at least I'm slow.
Duduki by G.I. Gurdjieff and Thomas de Hartmann [Re: Entheo] #1624276
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i'm finding there's quite an audience for the music of Gurdjieff / de Hartmann on YouTube. here's another...


Re: Duduki by G.I. Gurdjieff and Thomas de Hartmann [Re: Entheo] #1624279
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Are you people part of The Work?

Re: Duduki by G.I. Gurdjieff and Thomas de Hartmann [Re: JustAnotherPianist] #1624322
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Originally Posted by JustAnotherPianist
Are you people part of The Work?


not sure what you mean by "you people" -- it's just me here. i've been interested in the fourth way since @ 1972, and the various offshoots (enneagram, objective music, etc.)

Song of the Molokans by G.I. Gurdjieff and Thomas de Hartman [Re: Entheo] #1641789
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Oriental Song by G.I. Gurdjieff and Thomas de Hartmann [Re: Entheo] #1653906
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one more Gurdjieff / de Hartmann before moving on to a couple larger projects...




Scarlatti Sonata in f minor, Longo 118, K. 466 [Re: Entheo] #1687210
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Brahms Waltz in A-Flat Major, Op. 39 No. 15 [Re: Entheo] #1746954
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the fruits of my Labor (Day)...


Re: Brahms Waltz in A-Flat Major, Op. 39 No. 15 [Re: Entheo] #1747020
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Originally Posted by Entheo
the fruits of my Labor (Day)...



Hi Entheo -

Just curious - when recording on your M&H with the lid fully raised, where exactly do you place the microphone(s) ????? You always achieve a very nice recorded sound.


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Re: Brahms Waltz in A-Flat Major, Op. 39 No. 15 [Re: Carey] #1747079
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carey, i'm using a Zoom Q3 camcorder, so the condenser mics are built into the unit. i put it on a mini-tripod sitting right on the back of the plate -- et voila. i also tweak the unisons before recording, although at this point i'm due for a serious professional tuning.

cheers...

Eine kleine Bachmusik... [Re: Entheo] #1779870
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Song of the Fisherwomen by Gurdjieff/de Hartmann [Re: Entheo] #1847433
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at long last, my first recording for my youtube channel with my Yamaha C7, Studio One DAW, AudioBox 22VSL and Behringer C-3 mics...


Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1847449
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Interesting piece - very nice sound. Looking forward to hearing more recordings of your new Yamaha !!!! thumb


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Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1853913
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Re: as Krishna said to Arjuna on the battlefield... [Re: Entheo] #1854391
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An interesting approach to this Impromptu, Entheo. In many Schubert piano pieces, I've always found it very difficult to establish a satisfying pace. Too slow, and it feels endless; too fast, and it feels rushed and forced. For this particular Impromptu, Section A has for me more of a "dance" feel than a "hymn" feel -- but, having said that, his highly dramatic development of the first statement implies, I must admit, more of the hymn than the dance -- and that aspect you project very well.

I'm not persuaded much by your approach to the "B" section. First off, I think you're using too much pedal throughout this section; but secondly (and more importantly), I hear much more lyricism and less virtuosity than what you're projecting in this performance. I agree that there is a "storm" quality to this section -- but I'd be inclined to emphasize the singing line, which IMO is quite especially beautiful; really the high point of the Impromptu for me.

My only comment on the re-statement of Section "A" is that I would deliberately pick and choose a few details to project differently than the first time around. The reason I say that is that the section is really quite long (again, pace!), and with your approach, I think we have time to savor some subtle changes in the dramatic arch.

Having said all of this, I still found your performance solid and satisfying -- thanks for sharing this!

Re: as Krishna said to Arjuna on the battlefield... [Re: Tim Adrianson] #1854437
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thanks for the great feedback, tim. i do hear section A as more hymn-like than dance like, and don't like section B too fast, but you're right, i'm beating the heck out of B.

now if only i can implement your suggestions (silk purse out with sow's hands and all smile )

Song of the Fisherwomen version 2 [Re: Entheo] #1855394
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re-recorded the latest gurdjieff/de hartmann with my new mics, and having some fun with windoz movie maker. let me know what you think...



Re: Song of the Fisherwomen version 2 [Re: Entheo] #1855397
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Thanks Entheo,
Beautiful piece of music expressed through your interpretation.

Bach (Busoni) - Ich Ruf' Zu Dir, Herr [Re: Entheo] #2028816
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"I call on Thee, Lord"

In memory of the victims of the Sandy Hook Elementary School shooting.



Took me a lot longer to work up than it did for Valentina Lisitsa who, by complete coincidence, chose the same piece as I did.

Re: Persian Song by G.I Gurdjieff & Thomas de Hartmann [Re: Entheo] #2031110
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Entheo, for me, the Persian Song is reminiscent of Satie's "Gnossiennes" -- the same static rhythmic pulse throughout, the odd shifts in harmonic modulation at various junctures. If I recall, Gnossiennes was early Satie, when he was deep into his Rosicrucian mystical phase. Were Gurdjieff/de Hartmann part of that same mode of thinking?

As regards the appended commentary, I can offer a very pronounced, definite "Huh?". Hopefully, you didn't destroy large parts of Chicago by channeling too deeply into the objective art while performing this!

Re: Persian Song by G.I Gurdjieff & Thomas de Hartmann [Re: Tim Adrianson] #2031407
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Originally Posted by Tim Adrianson
Entheo, for me, the Persian Song is reminiscent of Satie's "Gnossiennes" -- the same static rhythmic pulse throughout, the odd shifts in harmonic modulation at various junctures. If I recall, Gnossiennes was early Satie, when he was deep into his Rosicrucian mystical phase. Were Gurdjieff/de Hartmann part of that same mode of thinking?

As regards the appended commentary, I can offer a very pronounced, definite "Huh?". Hopefully, you didn't destroy large parts of Chicago by channeling too deeply into the objective art while performing this!


tim, i don't recall ever coming across specific references to the rosicrucians in my gurdjieffian studies, but plenty of references to gnostic christianity so quite likely a connection there.

many of gurdjieff's writings & talks represent a sufi/'nasrudin' perspective designed to disrupt the mechanical flow of life and bring about 'huh?' moments (vs. 'aha' moments).

however, i can assure you chicago remains largely intact in spite of my best efforts to throw monkey wrenches into the machine. smile

JS Bach: Partita No. 2 BWV 826 Rondeau [Re: Entheo] #2034664
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there's just something about Bach that cleanses the soul. my latest attempt...


Re: JS Bach: Partita No. 2 BWV 826 Rondeau [Re: Entheo] #2034671
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Wow, Entheo, do you play Bach well! Clear as a bell throughout. I'd love to hear your interpretation of the entire Partita. Thanks for sharing this!

Re: JS Bach: Partita No. 2 BWV 826 Rondeau [Re: Tim Adrianson] #2034673
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Originally Posted by Tim Adrianson
Wow, Entheo, do you play Bach well! Clear as a bell throughout. I'd love to hear your interpretation of the entire Partita. Thanks for sharing this!


thanks so much tim! yeah, i'd like to hear my interpretation of the entire partita too wink

i am going to work on the subsequent capriccio next and hopefully hook them together. i believe martha argerich played them together on one of her earlier albums, albeit at a slightly faster tempo eek

Ständchen (Serenade) by Franz Schubert [Re: Entheo] #2057385
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just in time for spring; hope you will enjoy...


Re: Ständchen (Serenade) by Franz Schubert [Re: Entheo] #2057389
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So..... grin I'm guessing you saw the Standchen stuff on the other thread? smile

Listening to the beginning....I don't think I've ever heard the staccatos interpreted that way, how you do it in the intro. I sure wouldn't; I don't think it sets up much of a "serenade," more of a haunting threat. ha
But you're conveying a clear take, a clear point of view, which many things don't, and it's interesting, plus, while you don't continue that accompaniment figure in the same way, the way you play the melody is in line with the feel of that intro.

BTW nice pic up there. grin

Re: Ständchen (Serenade) by Franz Schubert [Re: Entheo] #2057404
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Did you really intend to have such a strong accent on the second and third beats in the opening measures? It does indeed sound strange, and I wonder how you would justify it, musically.

How do the last two macabre images fit in with the celebration of Spring or with the text of Schubert's "Ständchen"?

Regards,


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Re: JS Bach: Partita No. 2 BWV 826 Rondeau [Re: Tim Adrianson] #2057406
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Originally Posted by Tim Adrianson
Wow, Entheo, do you play Bach well! Clear as a bell throughout. I'd love to hear your interpretation of the entire Partita. Thanks for sharing this!

DITTO !!!!!

And I believe this is the first time I've heard your new Yamaha C7. Beautiful tone !!!! thumb


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Re: Ständchen (Serenade) by Franz Schubert [Re: BruceD] #2057416
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Originally Posted by BruceD
Did you really intend to have such a strong accent on the second and third beats in the opening measures? It does indeed sound strange....

It's not just the accents but also the extreme shortness of the staccatos. They add up to a very jagged feel.

Re: Ständchen (Serenade) by Franz Schubert [Re: Entheo] #2057418
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Originally Posted by Entheo
just in time for spring; hope you will enjoy...


"Spring" with a little "Day of the Dead" thrown in at the end. Excellent choice for the final image, however !!!!! grin

I know - and appreciate - how much work goes into putting together a video such as this - and you certainly made this one interesting from a visual standpoint !!!

I enjoyed your uniquely personal (and obviously heartfelt) rendition - but agree with Mark and Bruce regarding your unusual approach to the opening measures.

The Yamaha sounds good !!

Keep 'em coming Ed !!!!!!!



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Re: Ständchen (Serenade) by Franz Schubert [Re: Entheo] #2057421
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thanks for your comments. no, i haven't seen any other threads on standchen, so i'm afraid i don't have a frame of reference for those. i did experiment a LOT with the accompaniment, and for some reason separating the first four measure as such just ended up appealing to me. i've heard other recordings with the left hand quite staccato, but it's usually carried forward, but not always, or it's varied. horowitz's recording is quite enigmatic and beautiful, so what i took from his interpretation was to find an interpretation that appealed to me. it may not be anyone else's cup of tea, and that's okay; i'm actually more pleased with this piece than most of my other attempts. it is, after all, all grist for the mill.

regarding the "macabre images" -- in many latin american countries (notably mexico) they celebrate El Día de los Muertos, of which those paintings are representational. it's a celebration of love and remembrance; nothing macabre about it at all; in fact quite beautiful -- i've been to numerous dia de los muertos exhibits and they radiate with love. serenades can be to the departed as well.

cheers.

Re: Ständchen (Serenade) by Franz Schubert [Re: Entheo] #2057427
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Originally Posted by Entheo

regarding the "macabre images" -- in many latin american countries (notably mexico) they celebrate El Día de los Muertos, of which those paintings are representational. it's a celebration of love and remembrance; nothing macabre about it at all; in fact quite beautiful -- i've been to numerous dia de los muertos exhibits and they radiate with love. serenades can be to the departed as well.


I figured that was your rationale. smile


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Scarlatti Sonata in d minor, K. 32 [Re: Entheo] #2060319
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I've accompanied this sonata (which reminds me of a sketch) with a slide show of Leonardo da Vinci's drawings (with one notable exception). Although they were born 233 years and 320 miles apart, I daresay that Scarlatti shared da Vinci's "unquenchable curiosity" and "feverishly inventive imagination". Hope you will enjoy...


Assyrian Women Mourners by G.I. Gurdjieff and Thomas de Hart [Re: Entheo] #2077143
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my youtube channel has developed a nice little worldwide audience of gurdjieff/de hartmann music fans. here's my latest...


Re: Assyrian Women Mourners by G.I. Gurdjieff and Thomas de Hart [Re: Entheo] #2077368
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Appropriately hypnotic, Entheo! I don't know whether you noticed a very recent thread indicating that Frederic Chiu is issuing a recording of the Gurdjieff/de Hartmann collaborations in the near future. I confess to much preferring the incantatory efforts of Satie and Mompou to these, but they're still a heckuva lot better than some of the New Age-y noodlings. In the posting, there are several YouTube segments of Chiu working with the recording personnel to get just the right sound quality. Given your interest in this music, I'd strongly recommend this, if you haven't reviewed it already.

Re: Assyrian Women Mourners by G.I. Gurdjieff and Thomas de Hart [Re: Tim Adrianson] #2077445
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Originally Posted by Tim Adrianson
Appropriately hypnotic, Entheo! I don't know whether you noticed a very recent thread indicating that Frederic Chiu is issuing a recording of the Gurdjieff/de Hartmann collaborations in the near future. I confess to much preferring the incantatory efforts of Satie and Mompou to these, but they're still a heckuva lot better than some of the New Age-y noodlings. In the posting, there are several YouTube segments of Chiu working with the recording personnel to get just the right sound quality. Given your interest in this music, I'd strongly recommend this, if you haven't reviewed it already.


tim, yes i'm aware of the chiu recordings, and thank you for the heads up. my favorite artist for performing gurdjieff/ de hartmann is alain kremski -- for me he is the one who captures the spirit of "objective music", the feel which differentiates this music from any other. if you can find his recordings - not easy - i highly recommend acquiring them. they transmit what i believe to be what gurdjieff & de hartmann were attempting to convey beyond the notes themselves.

Re: Assyrian Women Mourners by G.I. Gurdjieff and Thomas de Hart [Re: Entheo] #2081254
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Originally Posted by Entheo
Originally Posted by Tim Adrianson
Appropriately hypnotic, Entheo! I don't know whether you noticed a very recent thread indicating that Frederic Chiu is issuing a recording of the Gurdjieff/de Hartmann collaborations in the near future. I confess to much preferring the incantatory efforts of Satie and Mompou to these, but they're still a heckuva lot better than some of the New Age-y noodlings. In the posting, there are several YouTube segments of Chiu working with the recording personnel to get just the right sound quality. Given your interest in this music, I'd strongly recommend this, if you haven't reviewed it already.


tim, yes i'm aware of the chiu recordings, and thank you for the heads up. my favorite artist for performing gurdjieff/ de hartmann is alain kremski -- for me he is the one who captures the spirit of "objective music", the feel which differentiates this music from any other. if you can find his recordings - not easy - i highly recommend acquiring them. they transmit what i believe to be what gurdjieff & de hartmann were attempting to convey beyond the notes themselves.


for those of you who might be interested in a bit of background into the gurdjieff/de hartmann music, i've come across a wonderful interview and examples of the music performed on traditional instruments (dudukis). mr. eskenian is quite correct that although the pieces were written for the piano, it is incapable of capturing the microtones of the music. also note the circular breathing technique employed by the musicians (very difficult; didjeridu players and indeed some horn players like clark terry used this technique):


Orthodox Hymn from Asia Minor by Gurdjieff / de Hartmann... [Re: Entheo] #2207159
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Song of the Aisors by G.I. Gurdjieff and Thomas de Hartmann [Re: Entheo] #2324532
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long time between recording sessions; been concentrating on the drums and finally got my piano tuned hence the incentive to finish this one up. with accompanying Sufi-inspired artwork; hope you'll enjoy...


Meditation by G.I. Gurdjieff and Thomas de Hartmann [Re: Entheo] #2325000
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on a roll; actually quite pleased with the recording and production (for a change)...


Love Theme from Cinema Paradiso [Re: Entheo] #2361477
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Re: Love Theme from Cinema Paradiso [Re: Entheo] #2362122
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Hi, Entheo! Ahhhhhhhh..... sigh! Morricone is for me one of the most talented of film composers, and this is a great example of his artistry. The theme provides a perfect emotional setting to the poignant rue of Cinema Paradiso. Thanks for sharing this!

Re: Love Theme from Cinema Paradiso [Re: Tim Adrianson] #2362432
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thanks for listening, watching and commenting tim! i worked it up to play at a memorial service and decided to go ahead and record it along with some stills from the film. one of my all-time favorite movies, this has inspired us to put it at the top of our netflix list and i believe it just came in the mail today, so i better be sure a box of kleenex is on the coffee table tonight.

cheers

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far from perfect, but there comes a point at which the law of diminishing returns kicks in and there are just too many other pieces to tinker with before i meet my maker. more grist for the mill...






The Girl with the Flaxen Hair, by Claude Debussy [Re: Entheo] #2432371
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freshly tuned piano so i took advantage of it!


Lyric Pieces by Edvard Grieg, Book IX, Op. 68: At Your Feet [Re: Entheo] #2460947
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This piece is one in a collection of lyric pieces by the great composer Edvard Grieg. This particular one, "At Your Feet", struck me as a Bhajan -- an Indian devotional song, one that expresses divine love, and is usually expressed at the feet of the Beloved. Hence the pantheon of Hindu gods, goddesses, and their devotees, such as Krishna, Radha and the Gopis, and Lord Ram, Sita and Hanuman. Hope you'll enjoy...


Rêverie, by Claude Debussy [Re: Entheo] #2466000
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with a montage of Claude Monet's paintings of water lilies...


Scarlatti Sonata in G major, K. 547 [Re: Entheo] #2490345
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this happy little scarlatti sonata gave me fits, but because i'm now infatuated with a schumann fantasy it was time to 'get it on the books' and move on...


Schumann Fantasy in C major Op. 17, 3rd Movement, Part 1 [Re: Entheo] #2518020
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Schumann prefaced the work with a quote from Friedrich Schlegel: "Resounding through all the notes, in the earth's colorful dream, there sounds a faint long-drawn note, for the one who listens in secret." He was exiled from his beloved Clara at the time he wrote this fantasy.


Re: Schumann Fantasy in C major Op. 17, 3rd Movement, Part 1 [Re: Entheo] #2518264
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Hi, Entheo! Terrific job on this -- very moving! Schumann wrote this piece as part of a commemoration to Beethoven, 10 years or so after LvB's death -- and the speculation I've read regarding the 3rd Mv of the Phantasie is that Schumann was trying to evoke the mystical/spiritual qualities of Beethoven late music. But, frankly, I don't relate to it that way at all. I hear it as being a rapturous love song; one of the greatest of all time -- and your notes regarding it seem to be aiming in the same direction. Sumptuous sound, in addition to being molto espressivo -- thanks for sharing it!

Re: Schumann Fantasy in C major Op. 17, 3rd Movement, Part 1 [Re: Tim Adrianson] #2518413
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Originally Posted by Tim Adrianson
Hi, Entheo! Terrific job on this -- very moving! Schumann wrote this piece as part of a commemoration to Beethoven, 10 years or so after LvB's death -- and the speculation I've read regarding the 3rd Mv of the Phantasie is that Schumann was trying to evoke the mystical/spiritual qualities of Beethoven late music. But, frankly, I don't relate to it that way at all. I hear it as being a rapturous love song; one of the greatest of all time -- and your notes regarding it seem to be aiming in the same direction. Sumptuous sound, in addition to being molto espressivo -- thanks for sharing it!


thanks tim! the 3rd mvmt came to my particular attention in the documentary "seymour - an introduction" (highly recommended, btw) as mr. bernstein called it out as one of the most beautiful pieces of music ever written, and it's hard to argue with that. schumann was exiled from his beloved clara during the period that he wrote this fantasy, and i'm in violent agreement with you in hearing the 3rd as a passionate love song to clara. due to my limited abilities i've split the 3rd into two parts, so pt 2 is coming (eventually!).

i'm fairly happy with the record quality this time. i keep tinkering with the mic locations, record levels, post-processing, etc. it's a very limited studio and i'm a one man band so to speak, so i have to keep reminding myself that the perfect is the enemy of the good. smile

cheers, ed

Schumann Fantasy in C major Op. 17, 3rd Movement, Part 2 [Re: Entheo] #2597931
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finally, part 2 -- only 10 months later... smile


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The culmination of a year’s worth of work (all of 2016), warts and all (and Kip-dog makes his presence known right at the beginning!). My deepest gratitude to my good friend maestro Theodore Edel who, month after month, revealed layer after layer of this beautiful aural flower to me...


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A great listen, Entheo! I know I've said this before, but how anybody can say that this evokes the mystic qualities of late Beethoven has gotta be out of their mind! This is one of the truly great passionate love songs, and it literally brings tears to my eyes every time it's performed in that spirit. And you accomplished this in spades -- what's a few attendant warts among friends?

Thanks for sharing, and a happy New Year to you!

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Originally Posted by Tim Adrianson
A great listen, Entheo! I know I've said this before, but how anybody can say that this evokes the mystic qualities of late Beethoven has gotta be out of their mind! This is one of the truly great passionate love songs, and it literally brings tears to my eyes every time it's performed in that spirit. And you accomplished this in spades -- what's a few attendant warts among friends?

Thanks for sharing, and a happy New Year to you!


thumb What more can be said? Gorgeous!!!!

J.S. Bach Partita No. 2 in C Minor BWV 826 - Allemande [Re: Entheo] #2632737
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Accompanying photos from our trip to Thomaskirche in Leipzig Germany in 2015. Bach was kappellmeister there from 1723 until his death in 1750. Pictured also is the organ on which he composed and played (in the Bach Museum)...


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Re: Arietta by Edvard Grieg... [Re: Entheo] #2712970
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Ethneo:

This is nicely phrased, and very sensitively played. I enjoyed listening to it. My only thought - and this is personal taste rather than criticism - is that it could move perhaps just a shade faster so that it feels more like two beats to the bar rather than four.

Thank you for sharing.

Regards,


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Hi, Entheo -- a really long hiatus; welcome back! For me, the emotional quality was just spot on -- I wouldn't change a thing. Thanks for sharing it!

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thanks guys; i appreciate the feedback. i've been playing drums (my first instrument; the one i actually have some proficiency at) in a jazz ensemble and thus my time has been bifurcated. however, i AM working on another grieg lyric piece and the adagio from the Pathétique, so stay tuned!


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Beethoven Sonata No. 8, Op. 13 "Pathétique": II. Adagio [Re: Entheo] #2714276
02/14/18 02:17 PM
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as an adult restarter, i get as nervous recording as i do performing in front of a live audience (piano, not drums). that said, i'm pretty happy with this recording of the gorgeous 2nd mvmt from beethoven's sonata pathétique...


Re: Beethoven Sonata No. 8, Op. 13 "Pathétique": II. Adagio [Re: Entheo] #2715059
02/17/18 11:59 AM
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Hi, Entheo!

I listened to both the Grieg and Beethoven --

The Grieg Melodie is for me a statement and then a "note-for-note" restatement of the same material, with a coda that comments on it in conclusion. In that context, I would like to hear more points of difference in the restatement than I heard here. It could be as simple a contrast as playing more softly the second time around (although still intensely!), but something that distinguishes the emotional character from the first statement. I agree with you that this piece is more passionate than pastoral, and very much like the "churning, yearning" approach you bring to it, but I do believe it would benefit from more contrast between the two statements, setting up, so to speak, the coda material.

I agree with your "no-nonsense" rendition of the very familiar 2nd Movement from his Pathetique Sonata. At this stage of his life, he wouldn't have indulged in rubato to any significant degree, and particularly in the context of Sonata form. Admittedly, the music is surprisingly Romantic, and I suppose that's why it's so popular, but it's still Classical in context. My only minor criticisms are that your staccatos are to my taste somewhat overstated, and some of the ornaments and admittedly odd rhythmic figurations feel awkward, but overall I think it's a solid, accurate rendition of Beethoven's thought at the time he wrote it.

Thanks for sharing these!

Last edited by Tim Adrianson; 02/17/18 12:00 PM.
Re: Beethoven Sonata No. 8, Op. 13 "Pathétique": II. Adagio [Re: Entheo] #2715172
02/17/18 06:52 PM
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My suggestion would be to voice the top melody much greater, i.e. more contrast between the melody and the rest of the 6th notes the RH plays, especially the ones on the beat.

Arabesque No. 1 by Debussy... [Re: Entheo] #2730925
04/22/18 05:20 PM
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guys, thanks for your feedback on my previous posts -- sorry, i don't get here as often as i used to!

here's my latest effort...


Brahms Intermezzo in B minor, Op. 119... [Re: Entheo] #2779062
11/07/18 06:34 PM
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on another recording of this piece, someone commented that it was like..."light filtering into a dark room." i concur and incorporated accordingly...


Re: Brahms Intermezzo in B minor, Op. 119... [Re: Entheo] #2779504
11/09/18 10:34 AM
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Hi, Entheo! Just beautifully voiced throughout -- and this piece pays big emotional dividends when you do that. Personally, I hear the "A" section as "sadder" than what you project, particularly the reprise -- but your rendition is compelling on its own terms. I agree that the "B" section is distinctly different in "feel" than "A" -- for me, it is a fond remembrance of particularly warm periods in the distant past that in "A", well, just no longer exist -- or ever will again. Just a superb reading of this late Brahms piece.

Gymnopédie #1 by Erik Satie [Re: Entheo] #2779845
11/10/18 03:45 PM
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The word “Gymnopédie” appears infrequently in 19th-century France, to the point where it might have been considered a neologism. It had, however, already been included in Jean-Jacques Rousseau's Dictionnaire de Musique (Paris: Duchesne, 1775), where Gymnopédie is described as an "air or chant to which young female Lacedaemonians danced naked." Satie claimed his Gymnopédies were inspired by reading Gustave Flaubert's novel Salammbô (final slide). Also, Puvis de Chavannes' symbolist paintings may have been an inspiration for the atmosphere Satie wanted to evoke with his Gymnopédies (all the other slides).


Re: Brahms Intermezzo in B minor, Op. 119... [Re: Tim Adrianson] #2779895
11/10/18 06:30 PM
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Originally Posted by Tim Adrianson
Hi, Entheo! Just beautifully voiced throughout -- and this piece pays big emotional dividends when you do that. Personally, I hear the "A" section as "sadder" than what you project, particularly the reprise -- but your rendition is compelling on its own terms. I agree that the "B" section is distinctly different in "feel" than "A" -- for me, it is a fond remembrance of particularly warm periods in the distant past that in "A", well, just no longer exist -- or ever will again. Just a superb reading of this late Brahms piece.


thanks for your thoughtful comments, tim, as always. even tho brahms wanted every last bit of melancholy wrung out of this piece, i can't help but hear it as something more akin to nostalgic longing, more sweet than bitter. it's just not dirgey enough for me to find it sad! ha

best, ed

Gymnopédie #2 by Erik Satie [Re: Entheo] #2793348
12/20/18 08:32 AM
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visual inspiration provided by paul cézanne... smile


Re: Gymnopédie #2 by Erik Satie [Re: Entheo] #2793410
12/20/18 11:46 AM
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Hi, Entheo -- I like that robust, passionate approach to the Gymnopedies. I suspect Satie intended the pieces to have a more mystical feel, given that he was deep into Rosicrucianism at the time, but the pieces themselves are now so ultra-familiar that IMO that they actually benefit from presenting a slightly different perspective. Your Cezanne choices brought to mind another piece from one of Satie's contemporaries -- Deodat de Severac's "Les Baigneuses au Soleil", which was directly intended to evoke Naiads on the Catalan coast. As always, a beautiful rendition, with a beautiful piano sound -- thanks for sharing!

Gymnopédie #3 by Erik Satie [Re: Entheo] #2793746
12/21/18 09:46 AM
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visual inspiration provided by auguste rodin. i think this one is my favorite of the three...


Last edited by Entheo; 12/21/18 09:54 AM.
Visions Fugitives by Prokofiev, No. 1: Lentamente [Re: Entheo] #2829806
03/22/19 06:28 AM
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such beautiful little pieces...


Re: Visions Fugitives by Prokofiev, No. 1: Lentamente [Re: Entheo] #2829964
03/22/19 12:28 PM
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Beautifully played. One of my favorites from the entire opus.


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Re: Visions Fugitives by Prokofiev, No. 1: Lentamente [Re: Carey] #2830272
03/23/19 06:30 AM
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thanks carey -- they're beautiful little jewels.

J.S. Bach Partita No 3 in A minor, BWV 827: Sarabande [Re: Entheo] #2830274
03/23/19 06:32 AM
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taking advantage of a freshly tuned piano...


Visions Fugitives by Prokofiev, No. 16: Dolente [Re: Entheo] #2832104
03/27/19 06:18 PM
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i get to use the sostenuto pedal in this one... smile


Visions Fugitives by Prokofiev, No. 17: Poetico [Re: Entheo] #2833843
04/01/19 12:39 PM
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Visions Fugitives by Prokofiev, No. 18: Con Una Dolce Lentez [Re: Entheo] #2841603
04/23/19 07:21 AM
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Visions Fugitives by Prokofiev, No. 18: Con Una Dolce Lentezza


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