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Really wonderful playing, Pogo! I was particularly taken by the Haydn: just a revelation! I love the way you use the possibilities of the modern piano to bring Haydn "to life". There was a downright three-dimensional quality in this performance that I rarely experience from piano music written in the Classical era. I believe you when you indicate that it was a bitch-and-a-half to get right, but I can assure you that the results were exceptionally successful.
I've heard your previous performances of the Bach and Rachmaninoff, and suffice it to say that these newer ones are more fully integrated and organic than the previous postings. In general, love your combination of subtlety and intensity of expression. I recall a comment made about the songs of Paul Simon: "You can feel the effort that goes into a Paul Simon lyric" -- and the same goes for your playing. Brava!
Aw, thank you all for the encouraging comments. I'm half surprised that it turned out the way it did! And especially that the Haydn is well received! (my teacher has, to this day, only heard the first page - so half of the exposition - of the first movement and heard the second movement once, a few days before the recording). Definitely a journey with that piece.
The circumstances to this recording, although now funny, were absolutely ridiculous at the time - my time to record went down from 3 hours to 1, because of series of disastrous events that followed that day - including, but not limited to: a dangling hammer which made it sound identical to a broken string (had to hunt down the piano technician), problems with the two sets of mics, the camera and the soundcard. So I was left with less than one hour to pretty much do one take of each. And my favourite part of it - during the last work I recorded (the Liszt), the frickin' DV tape STOPPED during the LAST 8 bars of the piece. I was literally screaming in the hall. For once I'd played it clean. Then I looked at my watch and had exactly 10 minutes to do it again, before the hall had to be used by opera.
Several things to be learned, for me at least - know your equipment VERY well, know the set up of the camera with the stupid tapes, experiment with the mic placements beforehand, if you can, and always make sure there's no opera booked after you, so that if disasters do happen, you'll have more time to go over things again and not panic to the extent of a heart attack.
"The eyes can mislead, the smile can lie, but the shoes always tell the truth."
...,I'm half surprised that it turned out the way it did! .......The circumstances to this recording, although now funny, were absolutely ridiculous at the time ........ I was literally screaming in the hall. For once I'd played it clean. Then I looked at my watch and had exactly 10 minutes to do it again, before the hall had to be used by opera.....
At the risk of sounding old and jaded, what you described sounds like a normal day to me!
Seriously, though: BRAVO! BRAVO! BRAVO! I enjoyed listening to these immensely.
Bravo! What a treat on the day after thanksgiving. In particular. I was awestrucken by your Hayden. I did not know it was such a wonderful composition. In your performance each rest (=silence) was as talkative (expressive, eloquent ) as each note. I wish i could have better command in English to communicate my feeling. Your Brahms - it always moves me. Loved Rach and Liszt too. Cannot wait to hear more. Thank you.
1) Bach c minor fantasy 2) Morzart Rondo in A minor, K511 3) Schubert Impromptu A flat D935 No2 4) Scriabin op11 prelude #2 and #14 (Re do #2, new #14) 5) kabalevsky Variations in A minor OP 40-2