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WTF was that all about?
Close only counts in horseshoes, hand grenades, and nuclear weapons.
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Perhaps I should fill in the rest of the time available to me with a slower, more poetic etude... Are you familiar with Sergei Bortkiewicz's Etude in D flat, Op.15 No.8? It's perfect for letting your fingers sing. Koji's performance is the best: http://www.youtube.com/watch?v=Ui5RxiKKhRo&feature=related(the second in his set; such incredibly passionate playing!) Close runners up are Katsaris and Lewenthal. Mel I like this idea with the second Etude. So not only does it show that level of depth, but it also shows that you are not limited to only the popular composers en mass.
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I think with a masterpiece selection of composer's and wokr's for your audition you should keep the same. I would recommend Chopin Opus 25 no 6 (One that i hear at every big piano competition) or the above Liszt transcendental etude no 10 is wonderful but even more colorful would be the #4 Mazeppa or the number 6. Berezovsky's DVD of the Lisz tTranscendental Etudes is wonderful for helping you decide which etudes of Liszt do you like best.
Serge P. Marinkovic, MD
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I've read all these suggestions, I appreciate them and I weighed them all against my abilities and needs. To be honest, I'm still kind of stuck on Debussy when it comes to closing holes in my program. I mentioned him in the opening post and I still really think I should play something by him. Uchida's recording of the cycle is unforgettable and really underlines how deep and complex this music is. Pour les Sixtes is especially sticking out in my head.
The Bortkiewicz or Rachmaninoff would also show flexibility and include different styles, but I'm going to have to diplomatically ignore them, I think. (I didn't really like the Bortkiewicz when I listened to it either.. *ducks!*)
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I've read all these suggestions, I appreciate them and I weighed them all against my abilities and needs. To be honest, I'm still kind of stuck on Debussy when it comes to closing holes in my program. I mentioned him in the opening post and I still really think I should play something by him. Uchida's recording of the cycle is unforgettable and really underlines how deep and complex this music is. Pour les Sixtes is especially sticking out in my head.
The Bortkiewicz or Rachmaninoff would also show flexibility and include different styles, but I'm going to have to diplomatically ignore them, I think. (I didn't really like the Bortkiewicz when I listened to it either.. *ducks!*) Ducks, what about them?
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Tasty with a little orange sauce.
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Chopin: Polonaise in A-flat major, Op. 53 - 9 mins. This polonaise takes 9 minutes to play?? I take it slower, so anywhere from 7 1/2 to a little over 8 minutes. I don't think the Heroic Polonaise can or should be rushed. There's too much music that you lose that way. [...] Slower than ...? I know I'm not a great math whiz, but if jeffreyjones plays it at 7-1/2 to a little over 8 minutes, as compared to the other's playing at 9 minutes, then jeffreyjones is playing it faster! No? Regards,
BruceD - - - - - Estonia 190
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I'm rounding up to give enough time for a breather, time for the judges to make their notes before asking for the next piece, etc. It's the same as factoring in applause. 45 minutes of music can easily translate to 50 minutes on stage.
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I'm rounding up to give enough time for a breather, time for the judges to make their notes before asking for the next piece, etc. It's the same as factoring in applause. 45 minutes of music can easily translate to 50 minutes on stage. Did you not read my question?
BruceD - - - - - Estonia 190
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Chopin: Polonaise in A-flat major, Op. 53 - 9 mins. This polonaise takes 9 minutes to play?? I take it slower, so anywhere from 7 1/2 to a little over 8 minutes. I don't think the Heroic Polonaise can or should be rushed. There's too much music that you lose that way. [...] Slower than ...? I know I'm not a great math whiz, but if jeffreyjones plays it at 7-1/2 to a little over 8 minutes, as compared to the other's playing at 9 minutes, then jeffreyjones is playing it faster! No? Regards, I thought the same thing, when I read this earlier.
"And if we look at the works of J.S. Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity... -Debussy
"It's ok if you disagree with me. I can't force you to be right."
♪ ≠$
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I think you need a virtuoso etude - IMO.
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Yes, usually when an etude is requested for an audition, they're looking for a virtuoso etude.
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt) www.pianoped.comwww.youtube.com/user/UIPianoPed
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I'm rounding up to give enough time for a breather, time for the judges to make their notes before asking for the next piece, etc. It's the same as factoring in applause. 45 minutes of music can easily translate to 50 minutes on stage. Did you not read my question? A quick search through my recordings shows Rubinstein at 7:10, Rafal Blechacz at 6:37, a young Argerich at 6:35, and Horowitz at 6:22. So, slower than them, at least. If my small sampling is to be believed, closer to 6.5 than to 7 seems typical.
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If you want something a little slower yet virtuoso, look at the third Stravinsky Etude.
Semipro Tech
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I'm rounding up to give enough time for a breather, time for the judges to make their notes before asking for the next piece, etc. It's the same as factoring in applause. 45 minutes of music can easily translate to 50 minutes on stage. Did you not read my question? A quick search through my recordings shows Rubinstein at 7:10, Rafal Blechacz at 6:37, a young Argerich at 6:35, and Horowitz at 6:22. So, slower than them, at least. If my small sampling is to be believed, closer to 6.5 than to 7 seems typical. The last recording I made of the piece clocked in at 7:35. So let's round up to 8 minutes, if we want to split hairs.. [video:youtube]P2thbXYP_Zw[/video] To Phlebas: No etude is specifically requested, but I understand when you say I should play a virtuoso study. I played through Pour les sixtes again.. it isn't easy, but it's probably not difficult enough for this audition.
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[...] The last recording I made of the piece clocked in at 7:35. So let's round up to 8 minutes, if we want to split hairs.. [...] You're still missing the point I was making - and it's hardly worth beating to death. However, I will .... When an earlier poster said he played the Polonaise in 9 minutes, you said you played it slower, at around 7-1/2 to 8 minutes. My point was that if you played the same piece of music in less time, you were playing it faster not slower. Oh, well ....
BruceD - - - - - Estonia 190
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I was the one who said 9 minutes, as an estimate. I went on to explain that I do play it slower than most do, which as others have said is generally true. And you're right, it's hardly worth belaboring.
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Thanks for the help everyone. After all that, I decided on something out of left field, of course.. lol. The Bartok Etude Op. 18/2 is slow in melody, yet it's virtuoso enough, contrasts enough with everything else I'm playing, and though uncommon, the faculty are likely to have heard it before.
[video:youtube]Q8MffqvBhPA[/video]
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That's the first thing that came to my mind! How many etudes can you do for the audition? I love the last three etudes in Chopin Op. 25, and they make a wonderful set, if not completely exhausting. Op. 10 #1-4 also make a great set.
Private Piano Teacher and MTAC Member
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by Gino2 - 04/17/24 02:34 PM
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