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Originally Posted by SwissMS

40. Rachel Jimenez - Intermezzo from Faschingsschwank aus Wien, Op. 26 I love the subdued arpeggios underlying the piece. Truly a wonderful job. I am glad you joined the recital!

41. Rachel Jimenez - Romanze from Faschingsschwank aus Wien, Op. 26 This one is quite a contrast to the preceding one. It is quiet and reflective, while the previous one is exuberant. I love your pacing of the piece.


Thank you!


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Originally Posted by verqueue



Pianamateur, it's not that this experience has put me off Schumann. There is a reason, why I didn't play his music before - I didn't like it. You can ask now ask why I played a piece by composer I don't like? I don't want to be limited to composers I like. I believe to be accomplished pianist there is some versatility needed. And there is always a possiblity that I find my new music love wink. And there was this recital, which gave me oppurtinity to push myself to finally play some major work by Schumann. I don't regret it wink. Maybe in the future I'll play his other pieces, but it'll be a while.

In this Sonata I didn't like that Schumann made small, insignificant changes in similar motives. For example in Chopin Mazurkas these changes give them some improvisational character. In this Sonata these small niuances are lost in cascade of notes - it's not only my performance, some great pianists also didn't manage to show these things. Also in the first movement the tempo is as fast as possible. And then faster and then more faster. It doesn't make sense for me. Overall harmony is pretty uninteresting, but there are some spots, where he put some strange chords. For me they seem forced... Also he didn't write any beatiful melody in this Sonata. I know my opinion is quite controversial and there will be plenty Schumann's fans, who disagree with me. We can have discussion about this, it would be interesting.

I feel much the same way. I found the Op 23 piece to be very repetitive and not enough variation to really keep it interesting. Or rather, it seemed almost directionless rather than changes that further the musical idea or explore it in new ways. In the Op 111, however, I think it was short enough that such development wasn't called for and so I didn't find it lacking.

I also wasn't too keen on a Schumann recital and actually working on these pieces was harder than the Grieg, whose music I absolutely loved. For me if I don't love the music, then I'm kind of going through the motions and it's more difficult for me to overcome and also to practice more diligently. I didn't find this problem with the Grieg. With Tchaikovsky, it was a bit of the same, but I enjoy it more than the Schumann I think.

I have learned a lot of things about myself in participating in these recitals, however. One is that since I do this for my own enjoyment (and I do play plenty of pieces for other purposes like accompanying students and the occasional gig), that I really should pick and choose my pieces carefully. If the piece really inspires me, then I think I will get more out of it and a better end result.


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"In this Sonata I didn't like that Schumann made small, insignificant changes in similar motives. For example in Chopin Mazurkas these changes give them some improvisational character. In this Sonata these small niuances are lost in cascade of notes - it's not only my performance, some great pianists also didn't manage to show these things. . . "

Just a thought. I`ve come across some music, not only by Schumann, that has supposed slight variations in repeats which seem so insignificant. Some are not even changes; just the music written out differently.

D`ya suppose these small deviations might not actually be written in stone? We always like to think they are, but the original messy manuscripts would indicate these guys were not too organized in their pen to paper approach . . . perhaps not even in their mental processes either!
And of course, someone far more organized has later had access to this stuff and wants it to be saleable . . . !


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Originally Posted by verqueue
Pianamateur, it's not that this experience has put me off Schumann. There is a reason, why I didn't play his music before - I didn't like it. You can ask now ask why I played a piece by composer I don't like? I don't want to be limited to composers I like. I believe to be accomplished pianist there is some versatility needed. And there is always a possiblity that I find my new music love wink. And there was this recital, which gave me oppurtinity to push myself to finally play some major work by Schumann. I don't regret it wink. Maybe in the future I'll play his other pieces, but it'll be a while.

In this Sonata I didn't like that Schumann made small, insignificant changes in similar motives. For example in Chopin Mazurkas these changes give them some improvisational character. In this Sonata these small niuances are lost in cascade of notes - it's not only my performance, some great pianists also didn't manage to show these things. Also in the first movement the tempo is as fast as possible. And then faster and then more faster. It doesn't make sense for me. Overall harmony is pretty uninteresting, but there are some spots, where he put some strange chords. For me they seem forced... Also he didn't write any beatiful melody in this Sonata. I know my opinion is quite controversial and there will be plenty Schumann's fans, who disagree with me. We can have discussion about this, it would be interesting.


Originally Posted by Morodiene
I feel much the same way. I found the Op 23 piece to be very repetitive and not enough variation to really keep it interesting. Or rather, it seemed almost directionless rather than changes that further the musical idea or explore it in new ways. In the Op 111, however, I think it was short enough that such development wasn't called for and so I didn't find it lacking.


No I don't think it's particularly controversial to voice an opinion on a work you've studied in depth...! And kudos to you (both) for persevering and polishing something you don't love to bits. I would tend to agree with both of you, and go further to say that Schumann simply wasn't well suited to traditional forms like the sonata. I personally don't find any of the 3 sonatas particularly compelling - and though I hadn't quite pinpointed why, I think you've articulated it for me: the comparative lack of beautiful melody and musical direction. I also am not a huge fan of the Fantasie, even though I know it's considered to be one of his masterworks. My personal faves are Carnaval, Papillons, Waldszenen, Op12 and the Kinderszenen - possibly because they're made up of such short pieces that there's no time to get lost in torrents of notes? I dunno. But thanks for sharing your thoughts, it's an interesting discussion to have.

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28 Moonsh1ne Ken 15 13

Lovely hymn like characteristics of this come through. It is a peaceful work with nice simple harmonies which you brought out. Enjoyed.

29, 30, 31 Tim Adrianson

Now then. . . . groping for words here. Can`t pretend. But it has been suggested Schumann lacks an emotional approach to music. I would agree. He paints musical pictures, sets scenes. These will convey the emotion . . .

Your music is very involved and flows from beginning to end. I particularly liked the last piece. Goes a bit wild after the half way mark, but there`s a reason for this. Panic, and more panic. A war zone? Who knows? Too much for my little brain . . .

Try to play that,
It`d drive me insane . .


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Opus 16 (Kreisleriana), Opus 18, Opus 21 (Noveletten)

29. Tim Adrianson - Kreisleriana #1 - 2 Op 16
30. Tim Adrianson - Kreisleriana #3-4 Op 16
31. Tim Adrianson - Kreisleriana #5 - 8 Op 16 Hats off to anyone who tackles one of these fiendish pieces, let alone all of them! Overall you did a wonderful job, though I suspect that if you had gone ever so slightly slower on some of the faster sections, some of the minor inconsistencies would have disappeared. But I'm not arguing with your tempo, it flowed wonderfully. You brought great dynamics to the piece and managed to tease the melody out of the mass of notes. And there were nice contrasts of mood between the different pieces and sections. Number 3 was just totally ravishing! Great performances!

32. Pover - Op.18 Schumann Arabeske This is delightfully played, you have the slightly drifting feel of an arabesque with the passion needed to balance it. Excellent job controlling the flow of this big piece, it felt it was going somewhere.

33. peterws - Novelletten 21 1 Wonderful contrasting sections. I loved the energetic parts, very well controlled. Nice voicing on the big chords. And a lovely contrast with the slower ones, nicely phrased. Great!

34. chopinoholic (Paul de Koning) - Novelette op.21 no.2 Just a crazy, crazy piece. It's hard to criticize the runs but occasionally I think you took them too fast and they weren't 100% accurate. Heck, mine aren't but you are better than me! wink The contrast to the slower section was delightful, nicely phrased melody and interplay with the voices. Overall, wow!

35. Tim Adrianson - Noveletten #5
36. Tim Adrianson - Noveletten, #6 You are a sucker for punishment! You also did a fantastic job with these Noveletten, great "big" sections and nice legato slower ones, all controlled and shaped wonderfully.


  • Debussy - Le Petit Nègre, L. 114
  • Haydn - Sonata in Gm, Hob. XVI/44

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People`s stuff here make mine look so pedestrian! Dunno how y`all do it . . .Talent I guess!

32 Plover op38

You`ve come a long way in 3 years! This lacks nothing . .love the shuffle (swing) beat after the half way mark; it sings really well. Id be more than happy wi that . . .

34 Chopinaholic 21 2

The Novelletten are involved. I grabbed arguably the easiest first, no time to waste on it! This was dramatic, your Pleyel sounds terrific and you both flowed well. . . I found 21 1 hard but in the 6 months I spent on it I never tired of it.

35 Tim Adrianson 21 5

Forceful, tuneful, gentle and expressive. The music and the playing The changes from section to section were great and deliberate. It was quirky, I loved it!

36 Tim Adrianson 21 6

This seems all over the place structurally; maybe that`s why some don`t care for Schumann, going nowhere in particular, maybe just reflecting life on a busy street . . .almost the classical equivalent of jazz; but I loved what you did.

37 Verqueue op22

16 minutes of purgatory just for us! Well, maybe you got something out of it . . there is always a good contrast between the dramatic and the laid back with Schumann, but this piece would have been more useful if it was shorter imo. You handled it wonderfully but . . not for me to do!

38 Morodienne 23 3

Erin, you piano and playing really sounds great here. You brought out the strong bits with force and appeared . . to enjoy this music! And there was I thinking it was for fellas . . .don`t know nowt do I? grin

39 Pika Pianist 23 4

This is really lovely, it is smooth and your phrasing is excellent! Nice nice . .

40 Rachel Jimenez op26

Your piano sounded amazing! What a set up . . This lovely piece sparkled with pristine beauty! I better shut up, swallowed a dictionary . .

More caffeine required . . .Off I go!


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Originally Posted by Andy Platt

32. Pover - Op.18 Schumann Arabeske This is delightfully played, you have the slightly drifting feel of an arabesque with the passion needed to balance it. Excellent job controlling the flow of this big piece, it felt it was going somewhere.


Originally Posted by peterws

32 Plover op38
You`ve come a long way in 3 years! This lacks nothing . .love the shuffle (swing) beat after the half way mark; it sings really well. Id be more than happy wi that . . .


Thanks guys! I feel like I can come back to it in a couple of years and get it up to my satisfaction. I might visit England this Summer, and if that happens, I'll definitely try to record it on a Steinway (along with Chopin's Gb impromptu, playing on a Steinway will be a highlight of the trip if it happens :P)

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[quote=Pover
Thanks guys! I feel like I can come back to it in a couple of years and get it up to my satisfaction. I might visit England this Summer, and if that happens, I'll definitely try to record it on a Steinway (along with Chopin's Gb impromptu, playing on a Steinway will be a highlight of the trip if it happens :P) [/quote]

From what I hear on this recital, a Yamaha P140 and Pianoteq would sound better . . .


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60. barbaram - Op 68 no 26 Nice job keeping the melody well projected over the accompaniment. This is another one I learned last year, and I remember some very awkward fingering. You made the changes seamlessly. Well Played!

61. torquenale (Alessandra) - Erinnerung - op. 68 n. 28 A very pretty piece, nicely played. I like the slow pacing, and strong melody.

62. Sam S - Strange Man - opus 68 no 29 This sounds like a very scary stranger with a strong presence, stopping to look around suspiciously. Your painted a great picture for me. Nice presentation.

63. Sam S - Album for the Young *** opus 68 number 30 This is a gorgeous piece and you played it well. It has a sense of remembrance.

64. Carey (Phil Jones) - Kriegslied (Song of War) Opus 68 No. 31 I can see the soldiers marching off with determination. Beautifully played.

65. Anne H - Opus 68, No 32: Sheherazade This one is new to me, and I really like it. You did a very nice job with it, keeping the perpertual motion going.

66. peterws - Mariners Song Another gem. It has the feel of choppy waves or rough seas to it. You kept its forward motion going very nicely.

67. Recaredo / Ricardo - Op. 68, Album for the Young No 37. Matrosenlied (Sailors' Song). Very expressive playing! This has a dark brooding feeling, that you brought out well.

68. noobpianist90 - Winterzeit I (Wintertime I) Op. 68 No. 38 IT paints a picture of a snowy landscape. I like your subdued playing. Your chords sounded even and well voiced.

69. barbaram - Op 68 no 39 Wintertime II This one sounds more like a bleak winter day. I especially like your playing of the middle section with the well projected melody and sudden fortes. Very nice.

70. Carey (Phil Jones) - Nordisches Lied (Northern Song) Opus 68 No. 41 This one feels very serious and a bit durge-like. Your playing brought out its dark character well.

71. Carey (Phil Jones) - Figurieter Choral (Figured Choral) Opus 68 No. 42 I like the balance between the voices. Very nicely done.

72. Carey (Phil Jones) - Sylvesterlied (New Year's Eve) Opus 68 No. 43 This Sylvester seems more like remembrance, than the celebration of the New Year. Really nice shaping and pacing.

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Originally Posted by verqueue

In this Sonata I didn't like that Schumann made small, insignificant changes in similar motives. For example in Chopin Mazurkas these changes give them some improvisational character. In this Sonata these small niuances are lost in cascade of notes - it's not only my performance, some great pianists also didn't manage to show these things. Also in the first movement the tempo is as fast as possible. And then faster and then more faster. It doesn't make sense for me. Overall harmony is pretty uninteresting, but there are some spots, where he put some strange chords. For me they seem forced... Also he didn't write any beatiful melody in this Sonata. I know my opinion is quite controversial and there will be plenty Schumann's fans, who disagree with me. We can have discussion about this, it would be interesting.



Why did you pick this Sonata? What I love about Schumann's work is the huge variety. I really liked your playing but I must agree that this is not one of his best works. The Grosse Sonata is much better but still not close to his best work.

Everybody knows Kinderszenen but his music is so versatile, there are so many different types and styles that I see with hardly any other composer.


Since you picked a fast piece, what do you think about:
Symphonic Studies, Op. 13 Appendix (1st Published 1873): Variation I.
https://open.spotify.com/track/0QwVBFLoFzxSlpX3iXtxVH
(The euphory laugh laugh )

Or for instance Bunte Blatter Op 99: Albumblatter II: Schnell
https://open.spotify.com/track/7gdWIiF0TaaW2AizikRB6J

Or piano quintet op 44. Or the Romances Op 28?

Of course his lieder are incredible but that's hard to play on piano wink Same for the requiem for mignon..

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Originally Posted by Jytte


WimPiano 46. Op. 68 No 4 - Ein Choral
52. Kleine Studie - Album fur die Jugend - Op. 68 No. 14

Well done. I liked it.

Mange Tak!

Originally Posted by SwissMS

46. WimPiano - Op. 68 No 4 - Ein Choral Nice, even well voiced chords! It sounds like you did well in learning to use the pedal correctly. Your changes sounded clean!

52. WimPiano - Kleine Studie - Album fur die Jugend - Op. 68 No. 14 This a pretty piece. Your arpeggios were nice and even, and play between the hands sounded great. Very nice.


Thanks for your nice words. I really liked for the No 14 to be after your piece, the contrast somehow made my piece sound different than when I listen to it stand alone.

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Originally Posted by wimpiano
Why did you pick this Sonata?


It was major work which I considered easier (compare to Sonata F# for example) and possible for me to do at acceptable level in 4 months, especially when I had to do other repertoire. There are plenty versatile composers, this argument doesn't convince me wink. I know these pieces you mentioned and I don't like them.


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Lol, a matter of taste it is wink

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Originally Posted by wimpiano
Originally Posted by Jytte

WimPiano 46. Op. 68 No 4 - Ein Choral
52. Kleine Studie - Album fur die Jugend - Op. 68 No. 14

Well done. I liked it.

Mange Tak!

smile


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41 Rachel Jimenez op26

A pleasant piece, played with a befitting depth of expression. Good light and shade here, Splendid!

42 Rupak Bhattacharya 28 2

What a gorgeous piano! And the music is wonderful to listen to. LH RH balance spot on. You do incredible things on that little Casio . .words fail me.

Scorpio 68 1

You played that very well. G

I`m sorry about this. I got up to No 51 tonight with comments. And they`ve all gone . . .Dammit! Took me two bloody hours . . . Really dunno what happened . . .

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Hi, Andy! My thanks for the comments -- I would agree that some of the "fast" Kreisleriana pieces are not totally satisfying from a technical standpoint, but I had elected "going in" to take risks rather than playing it safe, feeling that this was more of the essence of Kreisleriana in the first place. I appreciate your comment about #3, because I myself found that the most provocative and exciting of the eight pieces -- but, what a beast (as are #1 and #7)!

Thanks also for your comments regarding the Novelletten -- IMO, this is just vintage Schumann that is very seldom played. Unlike the Kreisleriana, I had pretty thoroughly learned these pieces some 40 - 50 years back, and it was just a thoroughgoing pleasure to "dust these off", with hopefully the increased wisdom of accreted experience. I would have loved to program #'s 3 and 4 in addition, but felt that I plenty on my plate already!

Again, thanks for your kind words.

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Hi, Peter! Thanks for your comments regarding the Kreisleriana and the two Noveletten. I was somewhat amused by your reaction to the Kreisleriana ("Let's see, now -- what DO we say?"). For me, Kreisleriana is just vintage Schumann, with all the really rather dark quirkiness and unique vision that informs much of Schumann's writing. The fast sections are short and explosive, but the slow sections are intensely introspective and, for me, the dominating portion of this disquieting cycle of pieces. And, in this context, the final piece is a really satisfying conclusion -- a bass line that goes more and more off-kilter as it proceeds, a "B" section that blends 6/8 and 2/4, a "C" section that insists on cross-handed relationships, and a final statement that descends into the depths. Totally original, totally convincing!.

I've always thought that the Noveletten were among Schumann's most neglected works -- again, chock full of original writing, and in this case, a little more light-hearted (difficult technically, though!). I've heard #1 much more than any of the others, and I thought you did a very nice job with it, particularly in the more forceful, marchlike sections.

Incidentally, Judy (my wife) and I will be visiting England for a full month, starting on Sep 06. We're going to be staying in a cottage outside of Bath, and plan to to do short tours at our leisure, rather than committing to a tourist "agenda". I'm definitely looking forward to that!

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Cheers Tim! I know nothing of the technicalities of any of this stuff, or classics generally . . hence the difficulty with any meaningful comments!
Hope you get decent weather for your trip; the last few years have been pretty good. And Bath is a place I`ve never visited. . . grin Steam trains run around those parts at odd times, if you`re interested!

Last edited by peterws; 03/22/15 05:53 PM.

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Originally Posted by peterws

40 Rachel Jimenez op26

Your piano sounded amazing! What a set up . . This lovely piece sparkled with pristine beauty! I better shut up, swallowed a dictionary . .

More caffeine required . . .Off I go!


Ha! Thanks a lot. smile


Rachel Jimenez Piano teacher in Brooklyn, NY / Author of Fundamental Keys method
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