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Here's a video of me playing the second movement of Beethoven's 28th piano sonata, i'm playing this piece for a piano competition in a few weeks, and would appreciate some feedback - I think it's always good to get feedback from lots of people, and not just your piano teachers
Also... I honestly have the worst performance anxiety, I get so nervous at times, I remember maybe 2 years ago? some user on piano world had posted a cartoon of how to beat nerves for performing... it sort of went like this - Instead of the audience judging the pianist, the pianist was showing the audience... I know this is a bad description... but can anyone know where I can find this picture?
I played this sonata a few years ago. It's pretty much one giant pain in the neck from beginning to end. You have a steadier tempo than I did and your technique is secure, but there's a lot of dynamic and textural variety you're missing, and there are some wrong notes as well. It could use some more careful study.
You have the chops to play this movement, clearly so my suggestion for the next few weeks is to not play it at full speed again and instead focus on playing it slowly with all the correct contrasts of loud and soft, subitos, staccato vs. legato, so that it doesn't just sound aggressive and straight-ahead the whole time. I'm sure that if you do some detailed work, your interpretation will really shine.
Joined: Feb 2013
I agree it needs a bit more subtlety. Try to enjoy it more and concentrate on making the sounds sound ... beautiful. (The piano seems somewhat out of tune, which doesn't help). Having said this, I applaud your courage of making yourself exposed to criticisms like this. Hope you take them as constructive. As Jeffrey said, play it real slow but try and make it sound gorgeous and easy. Relax! In my mind, the opening sentence of the piece could sound more "majestic". Slower, but more like as if an emperor is entering. The emperor would not be running, but striding.
In addition to the comments of others, I'd like to draw your attention to Beethoven's original pedal marking beginning in bar 30. He didn't provide many such markings, but when he did, they're always important to follow.
Here, he calls for the sustain pedal to be held down continuously from bar 30 through bar 33 which produces a wonderful blurring effect, almost like ripples on the surface of a pond. I've always thought this was the single most magical part of this movement.