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Hi everybody!

Presently I'm working at Suite bergamasque by Claude Debussy. Let me present for now the opening part:

https://youtu.be/jWgiR3I37AI

One day I wanna play a program which confronts the Suite bergamasque with selected piano pieces from op. 116-119 by Johannes Brahms. Both wrote their music in the 90ties of the 19th century, so about at the same time – but what a difference! Two musical universes, two generations meeting in one program! One day I'll play it

Thank you for listening and maybe even commenting!

The Prelude is my favourite movement from the Suite Bergamasque and I think you did a fine job with this, Tony (or is it Felix). I'm used to hearing it played slightly faster but liked your tempo - made the music very contemplative. On the whole I thought it was a really well judged performance.

Hi psyche23, and thanks a lot for your very early and very positive reaction! Yes, actually it's Felix, Tony is just my nickname for this forum

Discovering the contemplative side of this wonderful piece – that was exactly my intention, and I'm glad you could recognise and appreciate it

I noticed the same thing as psyche23 did about your tempo. And when I went to YouTube the timings for this pieces were all over the place from 3:36 for Gieseking to some performances slower than yours. I had mostly heard it faster than how you played it but also greatly enjoyed hearing it at a somewhat slower tempo. You changed it from a somewhat brilliant opening to a more contemplative one, and it was very enjoyable to hear it this way.

Thank you, pianoloverus! Maybe Debussy's tempo indication gives us a hint? He wrote Moderato (Tempo rubato), so it's not meant to be a fast piece, and furthermore some flexibility is required. There is a beautiful French word for flexibility: souplesse Yes, after the brilliant opening, a new, much more "private" mood shows up from bar 20, and only from bar 44 Debussy gently leads us back to the initial mood which triumphantly re-enters in bar 66. That's how I see it, and I'm glad I could convince you

That's a really interesting way of looking at the piece as a whole Felix, it's definitely caused me to rethink my approach to learning this (which I've been encouraged to do so by your performance). Can I ask what fingerings you used for bars 11 and 13 (with the semiquaver thirds). I'm finding those a bit of a struggle to play smoothly and with both hands in sync at anything other than a really pedestrian tempo. Any tips?

Anyway, assuming you record them I look forward to hearing the other parts in the future!

These bars are tricky, indeed

Since I don't know how to add a photo without URL to a comment, I made a mini movie (my shortest ever), where you can see all my fingerings. The movie is over after a few seconds, but you can stop it and watch the picture as long as you want, maybe even take a screenshot.

https://youtu.be/OCh7XbruzcQ

Of course this is just MY solution, adapted to the needs of MY hands. Maybe you'll need another solution, since hands can be so different? Anyway: I wish you lots of pleasure with this wonderful piece, and yes: I'm learning also the other parts of the Suite, one day I'll be able to present them, but I have to ask for patience Presently I'm very busy with Beethoven's violin sonatas, my chamber music partner wants to play them all

That's great Felix - thank you very much.

Hi, Tony007! As others have indicated, just an excellent performance of this piece. I particularly noted the attention to your shaping of the melodic line throughout; it is much needed to provide a connective strand to the overall narrative, which I personally find to be too episodic otherwise. I agree that the character of the Prelude is introverted, but with a warm cast, and so I don't aim for a grand flourish to introduce the piece in spite of that implication -- it's really more happy than glorious. You were very sensitive throughout to the emotional character of the Prelude, and that for me is its most attractive feature. Thanks for sharing this!

Hi Tim Adrianson! I'm glad you like the way how I play this piece! And I also enjoyed very much reading your insightful words about the character of this music. "More happy than glorious" – exactly! I always imagined some sunny and peaceful Mediterranean scenery in order to get into the right mood for the opening part. No glory, just joy of life

A truly excellent performance. I also am accustomed to hearing the Prelude played slightly faster, but after following the score and noticing the initial tempo marking Moderato (Tempo Rubato) I think you've hit the nail on the head. Like Tim, I appreciated your sensitive shaping of the melodic line throughout. I felt you were in total control of your interpretation from start to finish. Bravo !!

An early Debussy/late Brahms program is an excellent idea. In the meantime it seems you have a full plate with ALL of the Beethoven violin sonatas.

Thank you, Carey, for appreciating my recording that much! And yes, you are right:The ten violin sonatas by Beethoven are a very big challenge, right now I'm learning the "Kreutzer" sonata from scratch – it's such an overwhelming piece But continuing with my solo projects is important as well, it's sort of "counterpoint" I try every day to find the right balance....