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Originally Posted by SMA55
Hallelujah!  I'm seeing much less fluff and superficial pats on the back in the comments on these pieces, and much more meaningful and thoughtful feedback. This leads me to want to resume providing feedback myself. So here's my next few comments. (If I offend anyone, let me know, and I'll do my best not to comment on your submissions in the future. Deal?)

I'm good with feedback, but I would prefer you avoided comments like my playing makes you feel seasick. That more just felt like a kick in the teeth rather than constructive feedback.

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Originally Posted by KevinM
Originally Posted by SMA55
Hallelujah!  I'm seeing much less fluff and superficial pats on the back in the comments on these pieces, and much more meaningful and thoughtful feedback. This leads me to want to resume providing feedback myself. So here's my next few comments. (If I offend anyone, let me know, and I'll do my best not to comment on your submissions in the future. Deal?)

I'm good with feedback, but I would prefer you avoided comments like my playing makes you feel seasick. That more just felt like a kick in the teeth rather than constructive feedback.
I'm sorry that a comment I made was hurtful to you. That was certainly not my intent! I was attempting to be a little clever and use some humor to paint a colorful picture for you of the effect that playing Mendelssohn's Gondola Song with a syncopated feel had upon me (see my original comment from Recital #60 below to frame it within the full context). Really that's all it was. I personally thought I gave you a few good suggestions for improving your piece, rather than my having any intent to offend you. But you obviously didn't appreciate my attempt at illustrating one of my points with a bit of humor. So, I'll try to be more sensitive in any comments I make to you in the future.
Originally Posted by SMA55
41. KevinM - Songs Without Words 30.6 and 19.4
I much preferred your performance of the second piece, Op 19 No 4 over the first, Op 30 No 6. I think your playing is far enough along that some constructive feedback may be helpful to you. So please note that this is the spirit in which I provide it.

In your Op 30 No 6, note that the piece is written with a time signature of 6/8, and thus should be counted ONE two three FOUR five six, with the main accent on ONE and a lesser accent on FOUR. But instead you happen to be playing the left hand with a syncopated feel, accenting counts four and six. That isn’t what Mendelssohn intended, and it gives your performance of the piece a weird feel. (Feels to me more like being on a gondola during a storm, rather than upon a gentle Venetian channel. Makes me feel almost seasick!) Also, I realize that you say you’re having difficulty with the trills. If so, then leave them out and just play the primary note. After all, they’re just ornaments and should NOT cause you to have to dramatically slow down the tempo for over two measures just so that you can fit them in. That just interrupts what should be a very flowing feel. (Once again, this is a gondola song!) Finally, in measure 36 for the mordant, you’re playing a B sharp-C sharp-B sharp. But this piece is in the key of F sharp minor, and there is no B sharp in this key and there’s no indication of an accidental on the B. So it should be played as a B-C sharp-B.

In contradistinction, I think your Opus 19 No 4 performance was very well done! Congratulations!

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Originally Posted by SMA55
Originally Posted by KevinM
Originally Posted by SMA55
Hallelujah!  I'm seeing much less fluff and superficial pats on the back in the comments on these pieces, and much more meaningful and thoughtful feedback. This leads me to want to resume providing feedback myself. So here's my next few comments. (If I offend anyone, let me know, and I'll do my best not to comment on your submissions in the future. Deal?)

I'm good with feedback, but I would prefer you avoided comments like my playing makes you feel seasick. That more just felt like a kick in the teeth rather than constructive feedback.
I'm sorry that a comment I made was hurtful to you. That was certainly not my intent! I was attempting to be a little clever and use some humor to paint a colorful picture for you of the effect that playing Mendelssohn's Gondola Song with a syncopated feel had upon me (see my original comment from Recital #60 below to frame it within the full context). Really that's all it was. I personally thought I gave you a few good suggestions for improving your piece, rather than my having any intent to offend you. But you obviously didn't appreciate my attempt at illustrating one of my points with a bit of humor. So, I'll try to be more sensitive in any comments I make to you in the future.
Originally Posted by SMA55
41. KevinM - Songs Without Words 30.6 and 19.4
I much preferred your performance of the second piece, Op 19 No 4 over the first, Op 30 No 6. I think your playing is far enough along that some constructive feedback may be helpful to you. So please note that this is the spirit in which I provide it.

In your Op 30 No 6, note that the piece is written with a time signature of 6/8, and thus should be counted ONE two three FOUR five six, with the main accent on ONE and a lesser accent on FOUR. But instead you happen to be playing the left hand with a syncopated feel, accenting counts four and six. That isn’t what Mendelssohn intended, and it gives your performance of the piece a weird feel. (Feels to me more like being on a gondola during a storm, rather than upon a gentle Venetian channel. Makes me feel almost seasick!) Also, I realize that you say you’re having difficulty with the trills. If so, then leave them out and just play the primary note. After all, they’re just ornaments and should NOT cause you to have to dramatically slow down the tempo for over two measures just so that you can fit them in. That just interrupts what should be a very flowing feel. (Once again, this is a gondola song!) Finally, in measure 36 for the mordant, you’re playing a B sharp-C sharp-B sharp. But this piece is in the key of F sharp minor, and there is no B sharp in this key and there’s no indication of an accidental on the B. So it should be played as a B-C sharp-B.

In contradistinction, I think your Opus 19 No 4 performance was very well done! Congratulations!

I thought your valid point was already well made by the time you added the seasick bit.

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Originally Posted by KevinM
Originally Posted by SMA55
Originally Posted by KevinM
Originally Posted by SMA55
Hallelujah!  I'm seeing much less fluff and superficial pats on the back in the comments on these pieces, and much more meaningful and thoughtful feedback. This leads me to want to resume providing feedback myself. So here's my next few comments. (If I offend anyone, let me know, and I'll do my best not to comment on your submissions in the future. Deal?)

I'm good with feedback, but I would prefer you avoided comments like my playing makes you feel seasick. That more just felt like a kick in the teeth rather than constructive feedback.
I'm sorry that a comment I made was hurtful to you. That was certainly not my intent! I was attempting to be a little clever and use some humor to paint a colorful picture for you of the effect that playing Mendelssohn's Gondola Song with a syncopated feel had upon me (see my original comment from Recital #60 below to frame it within the full context). Really that's all it was. I personally thought I gave you a few good suggestions for improving your piece, rather than my having any intent to offend you. But you obviously didn't appreciate my attempt at illustrating one of my points with a bit of humor. So, I'll try to be more sensitive in any comments I make to you in the future.
Originally Posted by SMA55
41. KevinM - Songs Without Words 30.6 and 19.4
I much preferred your performance of the second piece, Op 19 No 4 over the first, Op 30 No 6. I think your playing is far enough along that some constructive feedback may be helpful to you. So please note that this is the spirit in which I provide it.

In your Op 30 No 6, note that the piece is written with a time signature of 6/8, and thus should be counted ONE two three FOUR five six, with the main accent on ONE and a lesser accent on FOUR. But instead you happen to be playing the left hand with a syncopated feel, accenting counts four and six. That isn’t what Mendelssohn intended, and it gives your performance of the piece a weird feel. (Feels to me more like being on a gondola during a storm, rather than upon a gentle Venetian channel. Makes me feel almost seasick!) Also, I realize that you say you’re having difficulty with the trills. If so, then leave them out and just play the primary note. After all, they’re just ornaments and should NOT cause you to have to dramatically slow down the tempo for over two measures just so that you can fit them in. That just interrupts what should be a very flowing feel. (Once again, this is a gondola song!) Finally, in measure 36 for the mordant, you’re playing a B sharp-C sharp-B sharp. But this piece is in the key of F sharp minor, and there is no B sharp in this key and there’s no indication of an accidental on the B. So it should be played as a B-C sharp-B.

In contradistinction, I think your Opus 19 No 4 performance was very well done! Congratulations!

I thought your valid point was already well made by the time you added the seasick bit.
Okay. So, in addition to apologizing for my attempt at being funny, I apologize for my verbose writing style, as well. And I assure you that any comments I make upon your future submissions will be much briefer.

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Thanks for everyone's comments on my version of "The Poet Speaks." Of course, there are many ways to play this short piece. Having listened to several recordings, I gravitate toward Alfred Cortot's interpretation. There is a Youtube video of him giving a master class on it if you are so inclined.

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Originally Posted by SMA55
04. Sam S - Etude 2
Nice work, Sam. Your playing and your piano sound good. My only suggestion is as follows. This piece is minimalist but still atmospheric, and IMO it requires a more spacious sound. It sounds like you’ve close miked your piano, which is fine—especially if your acoustic setting is not so spacious. But if you do that, then with a piece like this, IMO you need to add some reverb into the mix afterward, or else the result sounds too “in your face”, especially during the less busy portions of the piece.

You want to comment on my playing, fine, although I don't like or need criticism - that's what I pay teachers for. I've had enough criticism, judging, and grading for this lifetime already. But I have little interest in producing a perfect recording. I do the best I can with what I have.

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Originally Posted by SMA55
Okay. So, in addition to apologizing for my attempt at being funny, I apologize for my verbose writing style, as well. And I assure you that any comments I make upon your future submissions will be much briefer.

SMA55 your comments are a breath of fresh air. It can be difficult to decide what to write in order not to offend, or more importantly discourage folk from engaging here.
Nor do I wish to discourage Kevin; his work was very good and a most welcome encouragement to others.
Such comments from yourself and the many other highly competant folk here, are only to be welcomed warmly!
And humour oils the works.
Now, I've magically escaped the scythe up to now, but I have this gut feeling . . . . . .


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I've been swamped with demands on my time, so I am a little late to the party. I love what I am hearing as usual - starting from the end to spread the love...

37. Purrblast - Sonatina in A minor (Op. 27. No. 18) Love Kabalevsky! This was great, especially the ending!

38. facdo - Impromptu in E flat Major Op.90 No.2 Wonderful balance between the hands - love that quiet left hand. Your hard work has really paid off!

39. Snejana - Contemplation Very cool! I have been taking John Mortensen's improv class online. I can't do what you are doing - at least not yet. Maybe someday. Loved it!

40. PikaPianist - Waltz Op. 39, No. 9 Very professional, as always! I like it perky!

41. Augustina - Expression Thanks for playing this - I have never heard of her. Sounds very interesting. Welcome back to the recitals!

42. Amy H - Story of You Yes, I need to look into FFrench. I feel like his music should be Ff, but it's not! Well played, those jazzy melodies must be tough to count.

43. selfishplayer - Keyboard concerto no.7 in g minor BWV - 1058 first movement - Allegro piano solo Interesting video - the view from the bench! I could almost track where your eyes were looking. Nice playing too. Tempo was a little up and down - I thought I heard you slow down for the hard parts. Well done!

44. Rachtoven - Consolation No. 3 Tough piece! Wonderful balance between the hands - I can hear the melody clearly. At first I thought the tempo was too slow, but it sounded good after more exposure. I know it is tough fitting everything together - you did a great job. Only occasionally it felt a little like I could hear you counting. Wonderful decrescendo at the end.

45. tyschoco - Sonatina in G Major, Op 55 No.2 1st Movement, Allegretto Very much in the style - nice runs - very smooth. Your Alberti bass is smooth. Maybe just a bit of crescendo or decrescendo on the scales as an experiment. Loved it!

46. Pathbreaker - Alte Liebe A little more info would be helpful. Program notes. Is this a Brahms song transcribed by Reger? Just guessing. But you played it very well - nice voicing and crescendo to the climax. Well done!

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Originally Posted by peterws
Originally Posted by SMA55
Okay. So, in addition to apologizing for my attempt at being funny, I apologize for my verbose writing style, as well. And I assure you that any comments I make upon your future submissions will be much briefer.

SMA55 your comments are a breath of fresh air. It can be difficult to decide what to write in order not to offend, or more importantly discourage folk from engaging here.
Nor do I wish to discourage Kevin; his work was very good and a most welcome encouragement to others.
Such comments from yourself and the many other highly competant folk here, are only to be welcomed warmly!
And humour oils the works.
Now, I've magically escaped the scythe up to now, but I have this gut feeling . . . . . .

Haha! Well, your words of encouragement not withstanding, the fact that you view my feedback as a “scythe” says something, right? 😁 But thank you nonetheless for your supportive comments.

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Originally Posted by SMA55
Originally Posted by peterws
Originally Posted by SMA55
Okay. So, in addition to apologizing for my attempt at being funny, I apologize for my verbose writing style, as well. And I assure you that any comments I make upon your future submissions will be much briefer.

SMA55 your comments are a breath of fresh air. It can be difficult to decide what to write in order not to offend, or more importantly discourage folk from engaging here.
Nor do I wish to discourage Kevin; his work was very good and a most welcome encouragement to others.
Such comments from yourself and the many other highly competant folk here, are only to be welcomed warmly!
And humour oils the works.
Now, I've magically escaped the scythe up to now, but I have this gut feeling . . . . . .

Haha! Well, your words of encouragement not withstanding, the fact that you view my feedback as a “scythe” says something, right? 😁 But thank you nonetheless for your supportive comments.

Hey! There are others wielding those scythes this session! It kinda makes it exciting even if the truth hurts a little . . . . . now don't you go getting upset over my comments . . .
Maybe we should sanction verbal disciplinaries . . .light, med, severe!
Not forgetting the humour . . .

Last edited by peterws; 08/19/21 12:56 PM.

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Originally Posted by peterws
Originally Posted by SMA55
Originally Posted by peterws
Originally Posted by SMA55
Okay. So, in addition to apologizing for my attempt at being funny, I apologize for my verbose writing style, as well. And I assure you that any comments I make upon your future submissions will be much briefer.

SMA55 your comments are a breath of fresh air. It can be difficult to decide what to write in order not to offend, or more importantly discourage folk from engaging here.
Nor do I wish to discourage Kevin; his work was very good and a most welcome encouragement to others.
Such comments from yourself and the many other highly competant folk here, are only to be welcomed warmly!
And humour oils the works.
Now, I've magically escaped the scythe up to now, but I have this gut feeling . . . . . .

Haha! Well, your words of encouragement not withstanding, the fact that you view my feedback as a “scythe” says something, right? 😁 But thank you nonetheless for your supportive comments.

Hey! There are others wielding those scythes this session! It kinda makes it exciting even if the truth hurts a little . . . . . now don't you go getting upset over my comments . . .
Maybe we should sanction verbal disciplinaries . . .light, med, severe!
Not forgetting the humour . . .
Your humorous comments are always appreciated, Peter. At least by me. Of course I can't speak for some of the more sensitive/defensive souls out there. I honestly wasn't offended in the slightest by your "scythe" comment. I was merely needling you back just a bit.

I know that the subject of genuine, from the heart, reviews on people's performances has come up on these recital discussion threads numerous times in the past. There are some out there who truly want to improve their piano playing and are open to hearing both "the good and the bad", in terms of people's impressions. Then there are others who only want to hear opinions that support their own view that they're already doing everything just fine and dandy. And then there are still others who feel that only a highly trained and certified piano teacher is qualified to offer an opinion on music--unless that non-certified person's opinion is going to be a positive one, in which case it would be a valid one. You can't please everyone. So, I think I'm going to revert to my previous stance of not publicly commenting anymore. It will certainly be less trouble for me to just listen to these recitals and then only discuss any opinions I have behind the scenes with those who are interested in a more honest and free exchange of ideas--even ones involving a grim reaper and his scythe. wink

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31 Winterflower

Your piano sounded like a good oldie should. I liked the interaction of melody LH and RH but think it'd be of benefit to write down your compo a few bars at a time, and progress the song in that fashion to give a more structured feel.
Well done!

32 Maira 713

Nicely played, Maira! Sounded super!

33 Joangolfing

It sounds like perhaps it should be played faster, but you managed well enough at the slower tempo, and it sounded nicely done

34 Moo

You were busy here! No rest for those fingers either. Now I'm not qualified to comment further, but much of this was highly impressive.

35 KevinM

Gently does it, Kev. Nice job. However, a bit too gentle. Now, get that metronome out o' yer head and give 'er more light and shade, let it rock a bit and then she'll be real good!

36 Talao

You played this like, note perfect as far as I can tell. You're well ready to take it to new heights! Dig into those notes! Let the piano know who is the Master around here . . .
The Piano sounded so clear .

37 Purrblast

This was a likeable piece with wonderful; intricacies. I reckon you too, can rest assured your playing is accurate, but could do with ramping up a tad now! It's the right time to go for it . . .

38 Facdo

I can only wish for such dexterity; it'll never happen for me. Such a lively piece! You grabbed that dang piano by the scruff and made it talk!


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Originally Posted by SMA55
I know that the subject of genuine, from the heart, reviews on people's performances has come up on these recital discussion threads numerous times in the past. There are some out there who truly want to improve their piano playing and are open to hearing both "the good and the bad", in terms of people's impressions. Then there are others who only want to hear opinions that support their own view that they're already doing everything just fine and dandy. And then there are still others who feel that only a highly trained and certified piano teacher is qualified to offer an opinion on music--unless that non-certified person's opinion is going to be a positive one, in which case it would be a valid one. You can't please everyone. So, I think I'm going to revert to my previous stance of not publicly commenting anymore. It will certainly be less trouble for me to just listen to these recitals and then only discuss any opinions I have behind the scenes with those who are interested in a more honest and free exchange of ideas--even ones involving a grim reaper and his scythe. wink

Even your comment about comments is borderline insulting. What's wrong with being supportive and polite? Part of this is my fault, for screwing up the feedback question this time. I pledge to get it fixed before the next recital. In the past people have ignored the question or been confused by it - maybe it needs to be clarified on the form - and then I can remind people to pay attention to it when submitting and when commenting. The last thing we need is to scare people away from the recitals because they received negative comments. Or to cause someone to give up on piano because they thought they were doing well, but got a bunch of negative comments. Or to look at a recital thread, see a string of negative comments, hurt feelings, and bickering, and decide the recitals are not for them.

For this recital, if you want to be critical, know who you are talking to and if your comments are welcome. Always a good policy, whether in person or online.

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A start on what I hope will be a complete set of comments and appreciations:

01. Qazsedcft - Sneaky What a fun piece, played with great panache!

02. ranjit - Fantaisie Impromptu Your commitment to this piece delivers on its passion. I hope you keep at it, and consider sharing an updated version at a future ABF recital.

03. sma55 (Shepherd Abrams) - Sonata in C Major K545 You may be too hard on people like you and me who, lacking the expert skills of a professional, nevertheless enjoy playing a bit of Mozart. Of course there is always more that might be revealed. Nevertheless your appreciation of the music comes through in this performance.

04. Sam S - Etude 2 What a combination! The images of your hike together with the heartbeat of the Glass score were very compelling. Now I can’t decide whether I want to hike the AT or learn the Glass Etude; either would be a significant challenge, and I admire how you have done both and shared them here with us.

05. wouter79 - Op.45, Over Hill and Dale (24), Ballet (20) These, and especially the Ballet, make me want to hear more Heller.

06. barbaram - Dansul Romanesc Such a lively piece, by a composer new to me; good choice, played with verve!

07. MarieJ - Gnossienne No. 1 Beautiful! Wonder what Satie and Glass would say to one another, if they found themselves together in a room with two pianos?


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39 Snejana

Interesting ideas here. Perhaps you too, could write some of this down and then follow the score. It would help to improve the flow. This is just my thoughts, but the all-encompssing importance is the joy it brought you to hit those notes, the harmonies, the interaction. I fully understand that!
I have tried to do this myself, and some of the stuff I play is almost impossible to write down!

40 PikaPianist

No comments.

Great stuff again! Just a few more. Tomorrow!


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Originally Posted by peterws
35 KevinM
Gently does it, Kev. Nice job. However, a bit too gentle. Now, get that metronome out o' yer head and give 'er more light and shade, let it rock a bit and then she'll be real good!

I think this is entirely fair. My original submission was livelier and quite a bit faster. But it also suffered the same problem as this version that the support is too loud. In this version that support I felt was reasonably pleasant on the ear even while being too loud, but in the faster livelier version, I don't think I could describe it any other way than a mess of notes and that grated on me, but I do miss that spark.

So I've decided I will submit a new version for the Mendelssohn themed recital next year and hopefully I can do myself proud then.

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42. Amy H - Story of You Amy I loved the sound of your piece, "Story of You". I took your advice and ordered Alexis Ffrench's Sheet Music Collection. You play with such ease and mastery of this piece. I hope to find a new composer to study. Thanks for being part of this recital. I'm inspired by you and everyone else in Recital #63.

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Here's my first batch of comments:


01. Qazsedcft - Sneaky
Very nice playing. Didn’t know the piece or the composer but I like this jazzy style. Your performance made me want to listen to some more of this style. The only issue with your playing was that the piece was so short. I really wanted to keep listening smile

02. ranjit - Fantaisie Impromptu
Wow, that was a very impressive performance. It is amazing that you are mostly self-taught, as I would assume that it is very difficult to reach this technical level and the musical maturity that you displayed on your performance without proper guidance. Amazing work! I particularly liked the middle section. I think you played it very tenderly and with tasteful use of rubato and dynamics.

03. sma55 (Shepherd Abrams) - Sonata in C Major K545
I love the second movement of this sonata and I am really glad that you play the entire piece, instead of just the more popular 1st movement. I loved your playing! Very clean and enjoyable performance.

04. Sam S - Etude 2
Oh, this was very interesting. I never listened to Philip Glass and although that was a familiar name I had no idea what his music was all about. I can se the “mantra” and “meditative” quality of this music, but it reminded me the soundtrack of the Quatsi trilogy, a set of movies that I really love. I could just see the scenes and images of that trilogy passing by on my mind while I listened to your performance. Thanks for that nostalgia, I really enjoyed listening.

05. wouter79 - Op.45, Over Hill and Dale (24), Ballet (20)
I love this collection of etudes and the No.20, Ballet, might just be my absolute favorite. It is nice that you are sharing these pieces on the recitals. I really liked your performance of the No.20, but the 24 I guess there is still a bit of work to improve the evenness of those arpeggios. In any case, I love that you are picking these etudes for the recitals. Thanks for sharing smile

06. barbaram - Dansul Romanesc
That is a really cool piece I didn’t know. Lovely playing and thanks for introducing me to the composer and to this piece.

07. MarieJ - Gnossienne No. 1
Wow, that is a very nice performance of this piece. I really liked your dynamic control and the overall more delicate touch. You are right about this piece being overplayed, but it is quite rare to hear such a nice performance. So, thanks for sharing it smile

08. Peyton - Gnossienne For Stella
Oh, that is a really beautiful piece. Amazing work! It is nice to hear is right after a Satie Gnossienne, as I can see the inspiration on his style. And my best wishes to Stella, I hope she gets to recover quickly from the accident.

09. QuasiUnaFantasia - Stimmungsbilder, opus 9 no. 4: Traumerei
This is indeed dreamy. Lovely piece and lovely playing. I was completely oblivious to Strauss’s piano works, so thanks for sharing it.

10. Flygbladet - Tonbilder part 2 "barnmenuett" (Childrens menuett)
I think this is the first time I hearing about this composer, so thanks for making me discover new pieces. I really liked the music and your playing. Very well phrased and with a nice dynamic contrast. It seems fun to play, although, a bit difficult (for me at least). I don’t know what you could do to refine even more your interpretation. It seems to be already in a high level, so well done!

11. JJHLH - Feuillet d'Album Op 45, No 1
I am not a big fan of Scriabin, but this piece is really beautiful and I think it evokes a “tender sorrow”. I think you captured the essence of that piece really well and I really enjoyed listening. So much that I had to listen twice in a row.

12. pianist685 (Constantin) - Prelude and Allegro HWV 576
Your playing is superb, and the quality of the recording is really good. But to be honest, I think the harpsichord is among the most annoying instruments ever made. The fact that I enjoyed listening proves that this was a really good performance. I would love to hear it in a piano. I know the pianoforte was not invented at that time, but I wonder if Handel had access to a modern piano if he would choose to compose to the harpsichord again.


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A second installment --

08. Peyton – Gnossienne For Stella What a treat! My little cat also liked it. My big cat would too, if he weren’t deaf. Hope your Stella recovers well. Keep playing, keep composing!

09. QuasiUnaFantasia - Stimmungsbilder, opus 9 no. 4: Traumerei Yes, so dreamy and lovely! Beautiful playing.

10. Flygbladet - Tonbilder part 2 "barnmenuett" (Childrens menuett) I listened before I read your description, and I too found myself thinking “where are the children in this piece? It sounds rather ominous, in fact!” But very well played indeed. Perhaps a change of material to something unfamiliar would refresh your interest: blues? jazz? ragtime? Something fun and NOT ominous might be your remedy!

11. JJHLH - Feuillet d'Album Op 45, No 1 Beautiful! There is something in these somewhat stripped-down, elegant pieces (this, Glass, etc.) that speaks to my mood today. And I need one of those chefs to step from your video to my kitchen: the music would go well with a tiny perfect amuse-bouche or dessert. Or maybe three. Very nice art.

12. pianist685 (Constantin) - Prelude and Allegro HWV 576 Very grand sound, and beautifully played.

13. Alpha Terminus - Lotus Land I want to go see the movie that this conjures in my head, or maybe it’s a bar that I want to visit. A piano bar. Beautiful sound. Very moody.

14. AndresVel - Two-Part Inventions, No. 8 in F major (BWV 779) Well done! Near the end, it seemed that your command of the music became stronger and more confident; surprising, because so often it’s the beginning we have practiced the most, and the later part of a piece that threatens to fall apart. I had the feeling that the more you played, the more the music warmed up and came together.

15. Serge88 - Boogie Blues Etude Love this! Glad to see that the cool-cat tiger is back.


"Serena," my Estonia L168.
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Originally Posted by peterws
26 Lilypad

Love it. Probably a new way of playing for you, but most interesting; a bit more complex development of the RH part and you'll be really swinging

Thank you for the helpful feedback. When I finally got a mostly mistake free recording, I felt as if it was missing something, but couldn't figure out what. Well, actually I did look over the score and discovered some RH articulations that I hadn't paid attention too. You're right about the new way of playing. Although I play almost exclusively non-classical, I'd never done walking bass and admire the style. Learning the LH walking bass part was so intense for me and so much fun, that I just let my RH go along for the ride without further developing it.

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