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Set 10

Waltz in A-flat major, B. 21 - Cinnamonbear

Waltz in E major, B. 44 - Tim Adrianson

Waltz in E-flat major, B. 46 - Cinnamonbear

We're not allowed to criticize anything, right?

Don't ask me.

Ask me! Ask me!!! Ooo!!! Ooo!!! Ooo!!!! Mr. Kotter!!! Misstah Kahhtt-air!!!



No. *You* are not allowed to criticize anything. Criticism from *you* is anathema to any pianist who is far enough along to know everything.

Praise and encouragement only is allowed from *you*--especially in recital situations such as this.

Being a fast learner, *you* should know this.

(Pfft.)

I think some have said they are OK with constructive criticism, while others have either not said anything or have said they'd rather not have any. Personally I don't mind it, if there's something more I can learn (and I know there is), then great.

Waltz in A-flat major, B. 21 - Cinnamonbear. Having just dragged in after 14 hours work (mostly sitting) I can only dimly imagine how difficult it would be to practice and record after doing the same standing. Light, beautiful waltz-step (I can see the heels leaving the floor on the 3rd beats!). Good tempo, subtle contrasts, well-packaged. Bravo!

Waltz in E major, B. 44 - Tim Adrianson. Lively tempi, tasteful rubato, excellent melodic emphasis and dynamic variation (every recapitulation a little different), pin perfect ending. Very listenable! (What piano?)

Waltz in E-flat major, B. 46 - Cinnamonbear. Tough waltz. I know you wondered if your best-little-spinet-on-the-planet was up to the strange low octaves in this piece. Listened to Michelangeli again and his octaves remind me of a German Oompahpah band. Well-turned phrases, good contrasts, all the notes: an elegant, musical interpretation. (Glad we didn't trade!)

Final set

Waltz in E minor, B. 56 - dannylux

Waltz in E-flat major, B. 133 - maxmila

Waltz in A minor, B. 150 - FSO

This concludes the 2014 Chopin nocturnes and waltzes recital. Hope you enjoyed it.

Chopin "a la spinet." I love the sound !!

Impressive work by both Andy and Tim - with special kudos to Andy for creativity in score presentation !!!!

Bravo guys !!

Joel :

Many thanks for organizing this series of Nocturnes and Waltzes and for posting the submissions.

Regards,

Waltz in E-flat major, Op. 18 – carey

I’m so impressed by your performance of this waltz. Listening to your performance gave me a completely new view of piece. It was not just the flawless playing, but even more the way you give character to the music.

Waltz in A-flat major, Op. 34 No. 1 - hreichgott

Indeed you managed to bring life to this waltz. I remember that you offered me to play this one instead of you, but I’m very glad I didn’t accept the offer. You are a very accomplished musician, and it was a joy listening to your playing.

Waltz in A minor, Op. 34 No. 2 - Pathbreaker

Although it is technically less demanding than the two previous waltzes, this one is challenging in its own way. I love the changing moods of the piece, and I was very pleased when I listened to your performance. Great playing!

Waltz in F major, Op. 34 No. 3 - Arthur Rubinstein

Thanks to the organisers for including this piece and other pieces not taken by other participants.

+1! Joel, thanks ever so much for serving as organizer for this recital. I was very much taken with the high musical quality of the submissions -- everybody making an honest effort to operate at the top of their game.

Feel free to criticize me if you think you can salvage anything from the wreckage.

Waltz in A-flat major, Op. 42 - carey : Another fine contribution! I really enjoy the fluidity with which you play this, especially in the B sections. You were able to add enough rubato in there to keep it interesting without losing the excitement of this almost perpetual motion piece.

Waltz in D-flat major, Op. 64 No. 1 - AZNpiano : I'm glad you didn't try to play this as fast as absolutely possible, I find that when people do we lose so many of the nuances this piece has. Thanks so much for playing this! You gave it plenty of flair and contrast.

Waltz in C-sharp minor, Op. 64 No. 2 - Arthur Rubinstein : One of my favorite of the "slow" Waltzes, I'm hopeful that whoever signed up for this originally would submit their rendition at a later time when they can.

Waltz in A-flat major, Op. 64 No. 3 - timmyab : You have such nice sensitivity and connection with this piece. I like the interplay between the LH and RH in the B section. I couldn't help but think how much better this would sound on a good acoustic though, I think if you ever have the opportunity you should re-record this just because I think your playing deserves it!

Waltz in A-flat major, Op. 69 No. 1 - BruceD : You get such a wonderful singing melody on this one. Your timing on the rubato was really well-done too: enough to accentuate the rhythmic and harmonic changes that deserve highlighting, without losing sight of the fact that this is a waltz. Great job!

Waltz in B minor, Op. 69 No. 2 - Sam S : I like the contrast between your heavier pedaling in the B section and the drier pedaling you do in the A section. Your slightly slower tempo in the C section actually gave it a stateliness that I think going faster would have lost. Congrats on a job well done!

Waltz in G-flat major, Op. 70 No. 1 - Tim Adrianson : You certainly have the flair this piece needs to pull off those triplets and grace notes! And the tenderness you play the B section with is really special too. Not all of the Waltzes are superficial

Waltz in F minor, Op. 70 No. 2 - Ganddalf : I had forgotten about this sentimental Waltz - I absolutely love that opening line. Your singing melody and fluid playing is always a pleasure to listen to. Thanks for playing!

Waltz in D-flat major, Op. 70 No. 3 - musica71 : You have a great feel for what a Waltz should be, with touches of rubato, but not overly sentimental or drawn out. My favorite parts are how well you integrate the LH trill into everything seamlessly by accentuating it rather than glossing over it quickly. A fine performance!

Waltz in A-flat major, B. 21 - Cinnamonbear : I enjoy the way you play the melody here, it's clear and with a lovely tone to it. A delightful performance!

Waltz in E major, B. 44 - Tim Adrianson : I've always been told that when you play with rubato it should be done in an elliptical pattern, start a bit slower, then speed up in the middle and slow down again. You handle this masterfully. I've never heard this Waltz before, so it was interesting to be exposed to it with your playing.

Waltz in E-flat major, B. 46 - Cinnamonbear : Another unfamiliar waltz to me, this one seems to have a bit of drama in the use of those low octaves in the bass - which you bring out perfectly! Thanks for contributing another great performance!

I have a question about the posthumous waltzes. In my edition (Dover/Mikuli) there are only 2 posthumous Waltzes listed: E Minor and E Major. Did anyone do the E Minor?

11) G minor, Op. 37 No. 1 (ElaineAllegro)
I love the piece. When I was picking the piece, I tried this piece first but realized that 3 months for this piece is not enough.
This would be a piece one will comes back many times.

12) G major, Op. 37 No. 2 (Arthur)
Yup, I know you are good

13) C minor, Op. 48 No. 1 (Arthur)
You again!

14) F-sharp minor, Op. 48 No. 2 (BruceD)
Bravo! You are good Love the sensitive yet fluent flow of thoughts and emotions. Enjoyed it, thanks.

15) F minor, Op. 55 No. 1 (Damon)
This is one of my favorite. I love the way you brought up the drama in the middle section by projecting the chords. From there on towards the ending was mesmorisingly beautiful

16) E-flat major, Op. 55 No. 2 (jeffreyjones)
What a treat. I have never heard the recording of this piece. It does not look easy. Loved your performance.

17) B major, Op. 62 No. 1 (Emanuel Ravelli)
Hmm I have to do something about sound cloud. I cannot get the sound out of it. Maybe I should use my work computer (Dell) rather than my personal Macbook Air.

18) E major, Op. 62 No. 2 (dire tonic)
I was looking forward to your performance. As expected it was fantastic. From the first four notes, i knew I would enjoy tis. My words cannot express how wonderful it was. Thanks.

19) E minor, Op. 72 No. 1 (PikaPianist)
They say its not what you play but how you play it. Your performance is a living proof to that. I played this one when I was young and heard many others perform in recitals, studios, etc. But none come across to this moving yet masterful performance. Now I would love to go back to the piece and try it again.

20) C-sharp minor, P1/16 (-Doctor S)
Sorry, cannot make sound out of sound cloud. I will try it on another computer.

21) C minor, P2/8 (TwoSnowflakes)
OMG I can open this one! I don't know why I can open some sound cloud vs. another.. Anyway, I have never known about the piece but this is a very beautiful piece and performance. I cannot believe this is your first performance returning to piano. You must have progressed far enough when you are young. I look forward to more of your performance in the future.

Joel, I would also like to thank you for organizing this marvelous recital. Listening to all of these wonderful performances I am, once again, reminded of all the talent we have here at PW.

To those who commented on my performance, thank you for your wonderfully kind remarks. As for me, I wouldn't know where to begin with my reactions and thoughts regarding all of these passionate and heartfelt performances. All I can say is, I am honored and humbled to be among such fine musicians.

Same here, actually, Morodiene. I don't mind criticism when it is thoughtful, insightful, and goes below the surface to be truly helpful. For instance, MinnesotaMarty once told me that my staccato sounded like a bullet ricocheting off of a metal sign. He shared that simile only after studying a number of my recordings and concluding that it was something that I was not hearing in my own playing. He was right, and the picture he gave has helped me moderate that flaw. He also told me once that the striking of some of my block chords was imprecise, which was true, and as I worked to correct it, I eventually discovered an unevenness in the let-off setting on one of the keys of my piano!

Of course, anytime you put something on the Internet for the whole world to see (including posts that show a close-up of your own runny nose and snot on your sleeve), you open yourself to any and all. I like criticism that comes from the perspective of appreciation for what has been done, acknowledgement of where the work is in process, and like I said, goes below the surface. Helpful hints and "have you considered"s are also nice. As for the two waltzes I submitted, I can rip them to shreds on the surface, myself, for what they are (and *do* every time I listen to them)--unsteady tempo, poor dynamic decisions and execution, bad fingerings, missed notes--all barely fruited from the flower, with nary a blush of ripeness. In the Eb Maj. (B.46), I botched a nice compositional nuance in the bass line of the recurring "A" section every time it came around, playing a low Eb octave instead of observing the single Eb3, which is *meant* to be single in order to create a graceful upward momentum at the end of the phrase.

Both of the waltzes I submitted were not ready for prime time by a long shot. They were both new to me, and I did the best I could with them in the time that I had. Boo-hoo, right? When they were due, they were due, so I just let them fly. The silver lining I found was not in the playing, either. The thing that gave me the greatest joy in this whole particular endeavor was an epiphany in tuning the bass of my little spinet! I *finally* found a way to resonance through the inharmonic weeds, and while it is still wonky, the bass had better "float" to it than in any previous attempt. With an octave-heavy piece that spans the keyboard, I scrapped several recordings and tunings. In fact, I spent more time tuning than recording. LOL! But that was a *good* thing!

So, when Poly says, "We're not allowed to criticize anything, right?", which was his first post to this thread for a number of days, and that it immediately followed an arbitrary set in the presentation line-up that included both of my offerings, well, I didn't appreciate the wedgie, thank you very little. The meaning of life is found in the quality of our relationships.

Anyway, doctorS, carey, and Morodiene, thank you very *much* for the comments. That acknowledgement means a lot to me. At least I had fun YouTubify-ing the mess over the weekend. And despite being tired of these two waltzes for the moment, I'm keeping them in rotation.

I hope to make time to write individual comments for sets 5 through 11. I've listened to every recording once, many of them twice, and they were all enjoyable. Some of them were jaw-dropping good. Some of them were profoundly moving. Thank you, everyone, for sharing your music!!!

Joel, thanks for your work.

--Andy

Hear, hear !!!