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| 20 | | | Performer's name: | peterws | | Avatar: |  | | Experience: | Many, on and off | | Direct music link: | click to download | | Video link: | http://www.youtube.com/watch?v=uJ9Ug-n3e84 | | Title of piece: | On Christmas Day - Iceberg City | | Composer: | Me and A N Other | | Duration: | 02:55 | | Source of music: | Ear | | Instrument used: | Piano. Dgx620 | | Recording method: | Audacity, Wavepad and Videopad | | Technical feedback wanted: | Yes | | Additional info: | Overshot the xmas deadline for last year, so here it is! I really regret selling that ole jo-anna . . . |
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| 21 | | | Performer's name: | dynamobt/Marilyn | | From: | New Hampshire | | Experience: | Returning adult. Many years total | | Direct music link: | click to download | | Title of piece: | Piano Sonata Op 2 no 1 2nd mvt Adagio | | Composer: | Beethoven | | Duration: | 05:58 | | Source of music: | Henle Editions | | Instrument used: | 1918 Mason & Hamlin BB | | Recording method: | H2N w/Audacity | | Technical feedback wanted: | Yes | | Additional info: | Almonds for a snack before playing. Got coughing so badly nearly choked to death!! Tried to play this "sweetly" as indicated. Some mistakes still. Tricky piece to record. Many efforts needed. Going to be happy with this. |
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| 22 | | | Performer's name: | timmyab | | From: | UK | | Experience: | 20 years | | Direct music link: | click to download | | Title of piece: | Cadenza from concerto no 4 | | Composer: | Beethoven | | Duration: | 03:45 | | Source of music: | Schirmer | | Instrument used: | Yamaha S30 | | Recording method: | audacity | | Technical feedback wanted: | Yes | | Additional info: | I love the 4th piano concerto. I tried to learn it many years ago (why did I???), but there are lots of difficulties and there's also the small matter of an orchestra required (preferably one that enjoys accompanying incompetent pianists).
I revived this cadenza after hearing Mitsuko Uchida playing it at this year's proms. It's too difficult for me and my hands go out of sync in places. |
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| 23 | | | Performer's name: | Anne H | | From: | Mississippi | | Experience: | 12 years as a child/teenager, 1 year as a returning adult | | Direct music link: | click to download | | Title of piece: | Canzone popolare (Francia, 1500 ca.) | | Composer: | Ludovico Einaudi | | Duration: | 00:55 | | Source of music: | Sheet music | | Instrument used: | 1963 Steinway Console | | Recording method: | Zoom H4 | | Technical feedback wanted: | Yes | | Additional info: | I discovered this piece tucked in the back of my music cabinet during one of my short late night practice sessions. I had a giant work project dropped into my lap two months ago and brought all of my big piano project plans to a halt. I've been sneaking in short practice sessions whenever I can - luckily, during this time period our duplex neighbor also moved out so I can temporarily play late at night again.
This piece is one of those restful easy pieces that I've been playing in short bursts. It's simple and easy, but still has so much feeling packed into a short amount of space. I'm back to my regular practice schedule as of this month, but I'm thankful for pieces like this during the busy times of my life. I miss being a kid and having hours to practice when I felt like it.
Lunch was leftover spaghetti and meatballs with homebaked bread, along with copious amounts of Russian Caravan tea. |
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| 24 | | | Performer's name: | Ganddalf | | From: | Norway | | Experience: | Almost 50 | | Direct music link: | click to download | | Title of piece: | Barcarolle No.4 | | Composer: | Gabriel Faure | | Duration: | 03:46 | | Source of music: | Sheet music | | Instrument used: | Yamaha Avant Grand N1 | | Recording method: | Zoom H1 | | Technical feedback wanted: | Yes | | Additional info: | French composer, Gabriel Faure, wrote several pieces with the title "Barcarolle". I started working on No.4 because it seemed to be technically manageable. I have realised, however, that it is actually very difficult to play well. Although it is a late romantic composition it is quite polyphonic with lots of melody lines in the middle voices.
Like many of the other Faure pieces it is very emotional. It's a pity that my technical shortcomings prevents me from fully expressing the depths of the feelings through my playing. Anyhow I hope that you'll enjoy listening to this piece. |
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| 25 | | | Performer's name: | Copper | | From: | Virginia | | Avatar: |  | | Experience: | 8 | | Direct music link: | click to download | | Title of piece: | Photos Every Day | | Composer: | Rob Simonsen | | Duration: | 01:14 | | Source of music: | Sheet music - Apple iPhone TV commercial | | Instrument used: | Yamaha P-250 | | Recording method: | Connected the Yamaha P-250 to the computer | | Technical feedback wanted: | Yes |
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| 26 | | | Performer's name: | Serge88 | | From: | Montreal | | Experience: | 7 years + 5 many years ago | | Direct music link: | click to download | | Title of piece: | 12x4 Blues | | Duration: | 02:13 | | Source of music: | It comes from two books about learning to play the Blues | | Instrument used: | Roland FP7 | | Recording method: | iMac thru midi with software piano and Band in a Box for the drum track | | Technical feedback wanted: | Yes | | Additional info: | I'm playing a bunch of licks + the blues scale as the theme of the song. |
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| 27 | | | Performer's name: | earlofmar | | From: | Newcastle, Australia | | Experience: | Almost a year | | Direct music link: | click to download | | Video link: | http://youtu.be/tPqWCKMRoTI | | Title of piece: | Sonatina in C, Op 36, No 1 | | Composer: | Muzio Clementi | | Duration: | 05:43 | | Source of music: | Keith Snell "Essential Piano Repertoire From the 17th, 18th, &19 Centuries" Level 3 | | Instrument used: | Yamaha P105 with Galaxy Vintage D software | | Recording method: | Used Audacity, VLC Media Player and Windows Movie Maker. I don't hold any formal qualifications in I.T. but I feel I deserve an honory one for my efforts | | Technical feedback wanted: | Yes | | Additional info: | Each of the three movements was recorded in separate sessions over two very intense days and nights. I had hoped this would turn out a little better with fewer mistakes, I realise now I underestimated the difficulty of the piece. But I also like to set a bit of a challenge for myself in these recitals and the upside is I have learned so much from this seemingly simple Sonatina that I am looking forward to attempting the next one.
With my wife packing for a conference she found a camping meal in one of our suitcases which had expired. Naturally that just had to be dinner and so far still alive to tell the tale. |
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| 28 | | | Performer's name: | MaryBee | | From: | Cleveland, OH | | Avatar: |  | | Experience: | 40 years on my own, past 4 years with a teacher | | Direct music link: | click to download | | Title of piece: | Prelude, Op.28, No.15 "Raindrop" | | Composer: | Chopin | | Duration: | 06:02 | | Source of music: | http://imslp.org/wiki/ | | Instrument used: | Charles Walter 1520 upright | | Recording method: | Tascam DR-08. Converted to MP3 using Audacity. | | Technical feedback wanted: | Yes | | Additional info: | For this recital, I'm back to playing another popular piece. (I found nine performances of this in the ABF recital archives.) Even though it is often-played, the nice thing about this piece is that there are almost as many ways to play it as there are performers. I thoroughly enjoyed the process of listening to and getting ideas from different performances, experimenting with various approaches, and making the decisions for my own interpretation.
I had two challenges with this piece. The first was trying to control the repeated Ab, to allow it to support and give shape to the melody without it becoming clunky, annoying, or overbearing. Luckily, there is a break from that relentless Ab in the middle section, when the piece moves into the key of C# minor and the repeated note moves to G#.  The second challenge was allowing the right hand melody to "sing". I think I ended up with some moments of success; enough to satisfy me for now.
I discovered a mistake in my copy of the score last week. It has a tie across two measures which shouldn't be there. But it was too late; the piece was already learned. I practiced it a few times with the change, but of course I forgot it during the recording. |
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| 29 | | | Performer's name: | joangolfing | | From: | Iowa | | Experience: | 10+ | | Direct music link: | click to download | | Title of piece: | Quanta Qualia | | Composer: | Patrick Hawes | | Duration: | 05:05 | | Source of music: | Patrick Hawes: Towards the Light for solo piano | | Instrument used: | Yamaha GC1 Grand Piano | | Recording method: | Zoom H2 with audacity | | Technical feedback wanted: | Yes | | Additional info: | I heard this piece in Recital 29 played by Daren and loved the beautiful melody. I arranged some of the sections to make the tempo playable for me. This is a Latin choral piece. The words of the piece are: Amina mea mane, Quanta Qualia, Conventus gaudia erunt. English translation: Soul of mine abide, What a Feel, Shall the Joy of meeting be. |
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| 30 | | | Performer's name: | Allard | | From: | Netherlands | | Experience: | 2 years | | Direct music link: | click to download | | Video link: | http://youtu.be/qGtd4-XOyBQ | | Title of piece: | Brothers | | Composer: | Ludovico Einaudi | | Duration: | 05:26 | | Source of music: | "In a time lapse" song book. As you can see in the video, it's not a great book for reading :p | | Instrument used: | Perzina grand 152cm | | Recording method: | iPad and iMovie | | Technical feedback wanted: | Yes | | Additional info: | Recital time crept up on me again. Had to choose quickly between two David Lanz pieces... but I didn't want to submit Lanz again. Surely there is more music that I like? Einaudi's Brothers needed some work to get ready, but I am quite content with the result. |
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| 31 | | | Performer's name: | Sand Tiger | | From: | United States | | Experience: | One year and eight months (with many years on whistle, Irish flute and writing original songs). | | Direct music link: | click to download | | Home page link: | http://sandtigerpiano.blogspot.com/ | | Title of piece: | A Thousand Years | | Composer: | Christina Perri | | Duration: | 01:48 | | Source of music: | I started with some sheet music and then did my own arrangement of the harmony. | | Instrument used: | Casio PX-150 digital | | Recording method: | I record on the Casio, then transfer to the laptop PC using a Sony voice recorder as an intermediate step. Used Audacity to boost the volume. | | Technical feedback wanted: | Yes | | Additional info: | A beautiful love song from the Twilight movies. |
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| 32 | | | Performer's name: | supertorpe | | From: | Cadiz (Spain) | | Avatar: |  | | Experience: | 3 years and 8 months | | Direct music link: | click to download | | Video link: | http://www.youtube.com/watch?v=IgpWzmLEL0E | | Home page link: | http://elcaminodelpiano.wordpress.com | | Title of piece: | 30 Etudes Progressives, Op.46, n.8 | | Composer: | Stephen Heller | | Duration: | 02:40 | | Source of music: | Sheet music (IMSLP) | | Instrument used: | Digital Piano Kawai CA 63 | | Recording method: | Kawai builtin internal recorder, post-normalized by Audacity | | Technical feedback wanted: | Yes | | Additional info: | I need more work on the piece to achieve the real tempo, but for now, I'll leave it as it is for the recital. |
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| 33 | | | Performer's name: | ElaineAllegro | | From: | Chicagoland | | Experience: | 8 years ages 10-18; 30+ year gap; re-started ~5 years ago | | Direct music link: | click to download | | Title of piece: | Mozart Piano Sonata K282, 1st (adagio) & 2nd (2 minuets) movements | | Composer: | Wolfgang Amadeus Mozart | | Duration: | 06:46 | | Source of music: | Studied from Henle edition; played from memory | | Instrument used: | Wilhelm Steinberg IQ77, 5'8" grand, ~10 years old | | Recording method: | Zoom H2, minor editing on Audacity to remove sound of my steps across creaking floor; just learning how to use Zoom and Audacity... | | Technical feedback wanted: | Yes | | Additional info: | I finally got the nerve to enter my first recital on this forum, where I have been lurking and learning a lot. Constructive feedback appreciated on piano technique (I know there are so many gaps; I am working on them with my new Amazing Piano Teacher) as well as recording technique. I think I forgot about the red light after the first 20 seconds or so; hope it sounds a bit better after that. Looking forward to listening to the recital! |
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| 34 | | | Performer's name: | Sam S | | From: | Georgia, USA | | Avatar: |  | | Experience: | In my 6th year back after a 30+ year hiatus | | Direct music link: | click to download | | Video link: | http://youtu.be/ACtIPotXklE | | Title of piece: | Preludes Book 1 Number 10 - Sunken Cathedral | | Composer: | Debussy, Claude | | Duration: | 07:35 | | Source of music: | Alfred Edition, edited by Maurice Hinson | | Instrument used: | 1927 Bechstein Model L | | Technical feedback wanted: | Yes | | Additional info: | Here's what wikipedia has to say about this piece of program music:
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This piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ys, rises up from the sea on clear mornings when the water is transparent. Sounds can be heard of priests chanting, bells chiming, and the organ playing, from across the sea. Accordingly, Debussy uses certain harmonies to allude to the plot of the legend, in the style of musical impressionism.
To begin the piece, Debussy uses parallel fifths. The first chord of the piece is made up of sonorous Gs and Ds (open fifths). The use of stark, open fifths here allude to the idea of church bells that sound from the distance, across the ocean. The opening measures, marked pianissimo, introduce us to the first series of rising parallel fifth chords, outlining a pentatonic scale. These chords bring to mind two things: 1) the Eastern pentatonic scale, which Debussy heard during a performance of Javanese gamelan music at the 1889 Universal Exhibition in Paris, and 2) medieval chant music, similar to the organa in parallel fifths from the Musica enchiriadis, a 9th-century treatise on music. The shape of the ascending phrase is perhaps a representation of the cathedral's slow emergence from the water.
After the beginning section, Debussy gently brings the cathedral out of the water by modulating to B major, shaping the melody in a wave-like fashion, and including important narrative instructions in measure 16: Peu a peu sortant de la brume (Emerging from the fog little by little). This shows Debussy at his closest manifestation of musical impressionism. Then, after a section marked Augmentez progressivement (Slowly growing), the cathedral has emerged and the grand organ is heard at a dynamic level of fortissimo (measures 28-41). This is the loudest and most profound part of the piece, and is described in the score as Sonore sans durete. Following the grand entrance and exit of the organ, the cathedral sinks back down into the ocean (measures 62-66) and the organ is heard once more, but from underwater. To attain this underwater effect, most performers use a "half-pedal," so that the dampers of the piano are only slightly off of the strings, creating a murky, muffled sound (measures 71-82). Finally, the cathedral is gone from sight, and only the bells are heard, at a distant pianissimo.
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I guess I agree with most of that, except for the part about modulating to B major. It doesn't "modulate", since there is no key center. Debussy uses the pitches in the C# dorian scale, which looks a lot like B major.
I had a lot of difficulty getting a good recording - lots of mistakes and hesitations - it's a little difficult :-)
The video has the score! |
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| 35 | | | Performer's name: | PikaPianist | | Direct music link: | click to download | | Video link: | http://youtu.be/Q3DsMTAgBU0 | | Title of piece: | Songs Without Words Op.30, No.1 | | Composer: | Mendelssohn | | Duration: | 05:14 | | Source of music: | IMSLP sheet music | | Instrument used: | Kawai CS6 Digital Piano | | Recording method: | Kawai CS6 to USB | | Technical feedback wanted: | Yes | | Additional info: | This is one of my favourite Songs Without Words by Mendelssohn. Very enchanting and full of passionate longing. I fell in love with this piece instantly. I felt especially emotional during the recording, so I went a bit wild with the rubato in some places. Although not a perfect recording, it turned out being rather uniquely impassioned and beautiful. |
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| 36 | | | Performer's name: | Richard (zrtf90) | | From: | Ireland | | Experience: | Lots of experience | | Direct music link: | click to download | | Title of piece: | Ballad in D minor, Op. 10 No. 1 | | Composer: | Brahms | | Duration: | 05:20 | | Source of music: | Sheet | | Instrument used: | Kawai CA95 | | Recording method: | Direct to USB stick | | Technical feedback wanted: | Yes | | Additional info: | This is a very dramatic Ballad and I have struggled for some time to reconcile the score with the poem or with Brahms' later duet Op. 75/1 but I have now sorted it out satisfactorily.
The traditional Scottish ballad is a dialogue between a mother and her son, Edward, and I've attached a translation below (the German words Brahms knew fit the music exactly). She first questions why he has blood on his brand and he says (0:42) he's killed his hawk. The hawk's blood is not so red, she claims (1:05) and questions him further. He replies (1:49) that he's killed his horse.
I had tried unsuccessfully to follow this dialogue into the Allegro (2:11) but I realise now that Brahms has dropped the conversation and instead moved back in time to narrate the story itself. He tells how the son creeps up on his father whom he bludgeons to death with his brand.
For the close the ballad goes back even further in time when the mother is giving her counsel to the boy, which is revealed in the very last line of the poem. The mother's theme from the opening returns (4:07) but now with a triplet figure. The triplets that had added action and drama to the Allegro are now ominous and dark as she advises her son to murder his father. We now see the full story and her true character is disclosed as the evil schemer in the plot and not the unknowing mother we saw in the opening.
Those who have followed my progress on the FOYD thread will know that this hasn't been a difficult piece for me to learn, it was memorised very quickly - I have known and loved it for years - and the big chords with very little requirement for "small technique" play to my strong point. Still, this is a significant achievement for me and is the first 'big' Brahms piece, after so many of his Waltzes, that I've finished.
It's yet to mature and mellow into the fingers, by which time I should have developed more precision and control, but despite the sombre mood of the piece I really enjoy playing this and get worked up with the drama and the passion.
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"Why does your brand so drop with blood,
Edward, Edward?
Why does your brand so drop with blood,
And why so sad go ye, O"
"O I have killed my hawk so good,
Mother, mother;
O I have killed my hawk so good,
And I have no more but he, O"
"Your hawk's blood was never so red,
Edward, Edward;
Your hawk's blood was never so red,
My dear son, I tell thee, O"
"O I have killed my red-roan steed,
Mother, mother;
O I have killed my red-roan steed,
That went so fair and free, O"
"Your steed was old, and ye have more,
Edward, Edward;
Your steed was old, and ye have more,
Some other dole ye dree, O"
"O I have killed my father dear,
Mother, mother;
O I have killed my father dear,
Alas, and woe is me, O"
"And what penance will ye dree for that,
Edward, Edward?
What penance will ye dree for that,
My dear son, now tell me, O"
"I'll set my foot in yonder boat,
Mother, mother,
I'll set my foot in yonder boat,
And I'll fare o'er the sea, O"
"And what will ye do with your towers and your hall,
Edward, Edward?
And what will ye do with your towers and your hall,
That were so fair to see, O?"
I'll let them stand till down they fall,
Mother, mother;
I'll let them stand till down they fall,
For here never more must I be, O"
"And what will ye leave to your bairns and your wife,
Edward, Edward?
And what will ye leave to your bairns and your wife,
When ye go o'er the sea, O"
The world's room: let them beg through life,
Mother, mother;
The world's room: let them beg through life,
For them never more will I see, O"
"And what will you leave to your own mother dear,
Edward, Edward?
And what will you leave to your own mother dear,
My dear son, now tell me, O?"
"The curse of heck from me shall ye bear,
Mother, mother;
The curse of heck from me shall ye bear,
Such counsels ye gave to me, O"
_________________________
I was unable to comment on the last recital, being busy with the Grieg, though I enjoyed it immensely, and I am indebted to all those who so generously remarked on my Liszt submission. |
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| 37 | | | Performer's name: | carlos88 | | From: | Colorado | | Experience: | 5-6 as a kid, almost 2 years now consistently as as adult | | Direct music link: | click to download | | Title of piece: | Suite bergamasque - Prelude | | Composer: | Claude Debussy | | Duration: | 04:30 | | Source of music: | sheet music | | Instrument used: | Yamaha | | Recording method: | Zoom H4 | | Technical feedback wanted: | Yes | | Additional info: | I've decided the only way to learn to perform a piece cold is to play is cold. So the rule for this recital was: best of up to 10 tries, sit down at the piano without a warm up, hit record, and play.
I might have a chance to play this in front of some people in December. Still need to improve some pedaling and fix a few wobbly places in the second part.
Sometimes, I can imagine that Debussy wrote this piece during one of the happiest times of his life. That trill towards the end is one of those rare times in his music where he is truly happy, without irony or a hint of sarcasm, and without poking fun at someone. |
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| 38 | | | Performer's name: | Inlanding - Glen | | From: | Denver | | Experience: | Off and on for years | | Direct music link: | click to download | | Home page link: | http://www.youtube.com/user/Inlandings | | Title of piece: | Man I Love and Lover Come Back | | Composer: | Gershwin and Romberg/Hammerstein | | Duration: | 03:59 | | Source of music: | Improvisation over a lead sheet | | Instrument used: | 1917 O NY Steinway | | Technical feedback wanted: | Yes | | Additional info: | I've always enjoyed Gerswhin and came across the Romberg/Hammerstein tune and thought it'd be fun to pair a couple of old standards with love themes.
The tempo is very laid-back on both tunes and played pretty straight-up, with an intention for the listener just to lean back, close eyes, and relax. Still have to work on making the correct changes in time - playing slowly while keeping a steady pulse is a challenge.
Lunch was salmon with a kale and marinated roasted brussels sprout salad. |
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| 39 | | | Performer's name: | Andy Platt | | From: | Arlington, VA | | Experience: | Many years of noodling, 3.5 years of lessons | | Direct music link: | click to download | | Title of piece: | Dr Gradus ad Parnassum | | Composer: | Claude Debussy | | Duration: | 03:23 | | Source of music: | Debussy - Favorite Piano Works (Schirmer's Library of Musical Classics) | | Instrument used: | Kawai K3 | | Recording method: | Zoom H1, converted to mp3 in Audacity | | Technical feedback wanted: | Yes | | Additional info: | I'm not 100% happy with my performance - in parts it's a little rough, some of the tempo changes aren't quite right and there are spots where the pedaling needs improving.
And then I laugh and compare those "problems" with my earliest submissions to Piano World. Yes, I'm really quite happy with my piece after all!
This is the first piece from Debussy's Children's Corner (1908). The title "Dr Gradus ad Parnassum" is a light handed jibe (but compliment too) to Czerny who Debussy greatly admired. Czerny had published a collection of etudes entitled "Gradus ad Parnassum" ("Steps to Parnassus") and this is Debussy's take on them. Some of the passages have similar scale work and repetitive motives that are reminiscent of Czerny but the harmony of the piece is totally Debussy. |
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