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11. JJHLH - Feuillet d'Album Op 45, No 1
A pretty piece. Nice subdued and sensitive playing.

12. pianist685 (Constantin) - Prelude and Allegro HWV 576
Love the harpsichord sound! A great performance with a dainty allure, and beautiful trills indeed.

13. Alpha Terminus - Lotus Land
Interesting piece with a rather haunting atmosphere. Thanks for sharing!

14. AndresVel - Two-Part Inventions, No. 8 in F major (BWV 779)
That seems like a challenging piece and you've managed this enjoyable performance. Really impressive work on the musicality for someone with a year's experience.

15. Serge88 - Boogie Blues Etude
Clean and fun performance. When I can't help but bob my head, I know the performer must be doing something right.

Originally Posted by facdo
21. Calavera - Theme of Love
Wow, this was such a pleasure to listen! You play with such tenderness and high skill. Really amazing! That theme is strangely familiar, but I guess I never listened to the original song and that is just a nice catchy melody. Please keep sharing these video games and anime music, I really enjoy listening to your submissions!

Thanks facdo! I may as well spill the beans: I suspect that Uematsu heavily borrowed/stole from Francis Lai's Theme From Love Story. He barely even bothered to change the title, that lazy rapscallion... shocked

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sma55 mozart K545
Clean playing, you have a solid handle on the piece. Nice! I was stuggling a lot with the first part when I played this, but that was when I played piano only 1 year smile The recording sounds good, the sound is balanced, no clipping, little noise. I like it that you did not mess with the sound (no echo etc). I do hear a number of clicks, not sure but might be an issue with your recording system.

I could say my comments are all nitpicking. Except that in Mozart the notes and harmonies are so stupid simple that his music is in fact ONLY about these details. And that he does not spell it out, so that it very much boils down to your own taste. This is why they say it's so hard music :-) So I hope you bear with comments as they are probably quite much my personal taste

First part
----
why are you suddenly ending a staccato phrase in legato at 0:22? The energy bleeds out instantly. Seems not the right place for that.
It seems you are skipping a beat in m15, you play the dotted-1/8+1/16th as 1/8+1/8 and then the rest of the measure misses a beat. The repeat goes wrong the same way so you need to check the notes there.

I think the first part could use some more dynamics, it sounds all a bit leveled; I know that's hard with all these fast notes, but that's a very important ingredient to make music of this. The last fast runs in m71 and 72 sound a bit too legato to me.

2nd part
----
Notice that in m2 the note is only 1/4, not the rest of the measure (same in m4, 6, etc). Even soft you can hear it, and in my ear it should be as Mozart wrote it. In m7 it sounds like you are releasing the energy already at the start, I suggest you hold it till m8 before making a brief decr. I would play the staccato notes in m5 as staccato, yours sound a bit more like portato to me. But i m10 I think the portato-like sound fits better.
The melody seems at times a bit flat, not singing enough, even though you seem to shape the phrases well dynamically. I can't exactly put my finger on it, so maybe I just want to hear something beyond what's possible. Maybe this is just because some notes are slightly off: in some places a middle note is too loud and it breaks the line. Or maybe the LH is a bit too loud. This apparent lack of dynamics might be in part the sound of your piano, your piano seems to keep the exact same timbre when changing dynamics where I would like to hear the sound to become slightly sharper with more power. I have been in similar cases with my own pieces, eg with Scarlatti, where I keep trying for weeks to get anywhere near what I hear in my head. In general making long lines is some of the hardest to do on piano.
An important issue is that you rush into the repeats; play the full measure 16, so wait the full rest as indicated. Instead of rushing, I think even some stretching could be used.

I'm not hearing "unsteady tempo" that you mention. Or are you referring to a few small hiccups?


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Originally Posted by wouter79
sma55 mozart K545
Clean playing, you have a solid handle on the piece. Nice! I was stuggling a lot with the first part when I played this, but that was when I played piano only 1 year smile The recording sounds good, the sound is balanced, no clipping, little noise. I like it that you did not mess with the sound (no echo etc). I do hear a number of clicks, not sure but might be an issue with your recording system.

I could say my comments are all nitpicking. Except that in Mozart the notes and harmonies are so stupid simple that his music is in fact ONLY about these details. And that he does not spell it out, so that it very much boils down to your own taste. This is why they say it's so hard music :-) So I hope you bear with comments as they are probably quite much my personal taste

Thank you so much for taking the time out to listen and comment in detail! Always appreciated. As you say, some of the issues here are a matter of personal taste. I'll address a few of your comments specifically.

As far as the clicks you're hearing, I'm not sure which one's you mean. My fingernails tapping on the keys often cause clicking noises in my recordings, but I'm not sure if that's what you're referring to. Can you let me know a specific time in the recording when you hear one?

Originally Posted by wouter79
First part
----
why are you suddenly ending a staccato phrase in legato at 0:22? The energy bleeds out instantly. Seems not the right place for that.
This is one of those personal taste issues. I tried myriad methods of making this transition, and this was the one that was most pleasing to my ears, so I settled upon it.

Originally Posted by wouter79
It seems you are skipping a beat in m15, you play the dotted-1/8+1/16th as 1/8+1/8 and then the rest of the measure misses a beat. The repeat goes wrong the same way so you need to check the notes there.
You are absolutely right! Good pick up. After spending a lot of time on working the trill in where it belongs, somewhere along the line I lost a beat and then kept practicing it that way when I was mostly satisified with the trill itself. And then the lost beat must have gotten perpetuated in my performances. Oh, well--back to the drawing board!

Originally Posted by wouter79
2nd part
----
Notice that in m2 the note is only 1/4, not the rest of the measure (same in m4, 6, etc). Even soft you can hear it, and in my ear it should be as Mozart wrote it.
Yes, you're right again. Those rests are something that I have to consciously make an effort to take, as they're not ingrained in my memory. That's one of the hazards for natural memorizers such as myself. We dispense of the score just as soon as is humanly possible and play from memory. But then if we unconsciously drift a bit from what was in the score, we don't even notice it. Unless we take some time to play from the score again--which I obviously didn't do enough!

Originally Posted by wouter79
The melody seems at times a bit flat, not singing enough, even though you seem to shape the phrases well dynamically.
This was mentioned also by Pianist685. In a personal communication I had with him, he came to realize eventually that it was less of a singing tone issue and more to do with the fact that I'm using the pedal extremely sparingly. Why? Well, because I was once traumatized while playing Mozart during a jury exam, in which one of the jurors criticized my playing Mozart while using the pedal at all. She claimed that the pedal should not be used at all, because Mozart did not have one to use on his pianos. Despite the fact that she was sort of wrong (because the fortepianos that Mozart used in the later part of his life had a series of knee levers, one of which actually did allow for the sustaining of notes), it still is generally considered proper to use the pedal only sparingly with Mozart, so that there is an extreme level of clarity to the sound. As a result, depending on one's acoustic environment, playing with very little pedal and with little to no reverberations can result in a flatter type sound. In my experience with my piano, it's all a bit of a trade-off.

Originally Posted by wouter79
I'm not hearing "unsteady tempo" that you mention. Or are you referring to a few small hiccups?
"Unsteady tempo" was a poor choice of words on my part. Yes, I was referring more to focal unevenness--or, to use your terminology, "small hiccups".

Thanks again for your detailed comments!

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Originally Posted by PianogrlNW
03. sma55 (Shepherd Abrams) - Sonata in C Major K545 I like the overall tempo, it’s energetic without being too fast. Judicious use of pedal. I couldn’t hear the damper pedal, but the sound resonated and did not sound dry. Your tempo sounded very steady so not sure why you thought it might be uneven. Very fluid runs, crescendos and decrescendos, and fluid movement when one hand takes over the other in a run. Super audio. I thought the first movement was the strongest of the three. I liked the sound of slight separation between some of the notes in the second movement and how you created the some different colors when the piece transitioned to D minor. I feel like the Rondo, the third movement, could use some more of your usual energy, more contrasting dynamics to sound more like a playful dialogue.
Thank you for your kind words and for your always helpful suggestions, Ellen! I do appreciate them. The tempo issue I mentioned in my notes was a poor choice of words. What I really meant were simply moments of unevenness, which, with Mozart, stand out like a sore thumb (to me anyway). As the 1st movement was the most technically demanding, I spent more time with it than with the other two movements, and yes, it shows. grin While I've moved on from the Mozart, when I decide to pick this piece up again, I'll focus more on movements 2 and especially 3.

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Thanks QuasiUnaFantasia and Serge88 for your comments!

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[quote=ranjit]26. lilypad - The Bass Man Walketh Well done on performing this! It's a tricky rhythm to get right. That said, it sounds too hesitant! Really allow it to groove, forget about hitting the right notes, and get back to it after a while. [quote]

Thank you for listening and providing feedback. My normal mode on the piece is to groove along with it. It's so much fun to play that I often keep repeating the piece after the 'turnaround' instead of going to the end.

My hesitation is likely due to recording anxiety (aka red dot syndrome). I started working on the recording anxiety today by establishing a weekly recording day for pieces in progress. It's already been very revealing. I've discovered that I stop, pause, correct mistakes, etc. when I should be in performance (as apposed to practice) mode. My focus going forward will be to keep playing no matter what, play as expressively as possible and listen to my recordings to evaluate if I sound the way I think I do.

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The start of the academic semester got me swamped and it took me a while to get back here. Thank you very much AndresVel, QuasiUnaFantasia, facdo, MarieJ for taking the time to listen to my piece and provide written feedback!

Originally Posted by AndresVel
Hola Talao! It is great you chose this one as your next piece! I am very happy you felt inspired by my submission in the last recital. That is very flattering and I feel very humbled that this was the case :)) I liked you version a lot! I noticed several things that differ from my take on it and that is awesome since it gives me a whole new listening experience. On your first movement: I liked the steady tempo you kept all throughout, I remember struggling with not speeding up in the second part of the exposition. The grace notes were very nice handled and you seemed very much in control of the performance. One thing I noticed was for example trying to give more dynamic variation to the right hand, specially in the development section, where you have the running scales. This impression might be related also to the recording itself, with the mics not picking up exactly what you listen when playing, so take it please with a grain of salt. I also wanted to share with you some ideas we discussed with my teacher when working on this piece (these are just for your to perhaps try them out for fun or if interested, I am not trying at all to suggest you should play it as I did or that you should change your interpretation): I think the first mvmt is very lively and happy, and therefore I did not join the left hand in the exposition, but kept it detached. It gave the piece a bit of a jumpy feeling which I liked very much. On the coda, I also tried to keep the alberti bass as quiet as possible, specially in the repeat. Again, these are just ideas I remembered discussing with my teacher that you might want to try for fun. On the 2nd mvmt: I liked it a lot, your choice of tempo gave it a very lively feeling to it. Your ornaments are again very well handled, and you also introduced very beautiful pauses which made it a pleasure to listen to. I find very interesting how our approaches are different. In contrast to the 1st mvmt, I tried here not to detach the left hand in the exposition and coda. You, on the other hand, added a bit of staccato feeling which served very well for the tempo you chose. I very much enjoyed your performance! The little mistake in the 2nd mvmt is really not important at all, you continued as if nothing had happened, and that is by itself a very good skill to possess. Awesome job Talao! :DDD

This is such great and detailed feedback. Thank you. It's nice to hear from someone who worked on the same piece not too long ago and exchange ideas. Thank you for the alternative interpretation ideas. A lot of times it's a matter of trying something and listening to the result (no single right way to do it). I'll play around with your suggestions and see what happens. Tempo-wise, I was trying to push myself to get as close as possible to what my edition of the piece shows, without sounding sloppy. The 1st movement is market at 132 quarter notes per minute, but I was playing it at around 120. The 2nd says 88 dotted quarter notes per minute, but there was no way I could play it that fast. I was closer to 60.

Originally Posted by QuasiUnaFantasia
This was a very fine performance in it's own right, and all the more so in the light of your brief experience. And the sound quality was quite excellent.

Thank you! Another positive comment on the sound quality! I'm starting to like this mic setup more and more. :-)

Originally Posted by facdo
Really well played. Such a clean and expressive performance. Bravo! The only issue I can think of is regarding the dynamic balance between the hands. You are singing the right hand melody just fine, but I think your performance would benefit from an overall softer left-hand. I think I am commenting this a lot on this recital and it might be something that the MP3 audio compressing is messing up. I am only pointing out because I am sure you have the technical capability to do that and I think it is something that you can easily address that will raise your performance to an even higher level. On a side note, it is very interesting that you are documenting your progress with the number of hours. I am subscribing to your channel and looking forward to see your playing at 10000 hours

[Oi Felipe! Você é brasileiro também? Me inscrevi no seu canal! Obrigado pela sua inscrição no meu!]

Thank you! I do agree with you that I can definitely do better with this LH vs RH balance, but I also have this feeling that my recordings (in general) make my LH louder than what I hear when I'm playing. Overall, I feel my recordings have a smaller dynamic range than what I hear when I'm playing (the softest note is closer to the loudest note in the recording than in real life). I don't know much about sound engineering and the different formats, how the losses/compressions take place, etc. I wonder if there's some software workaround (or some setting for mp3 conversions) that I could play with to improve this.

I like to document it in terms of hours because it gives me a better idea of effort than just days. Plus, there's the elusive 10,000-hour mark (as you pointed out) which, at my current pace, I should reach in about 16 and a half years from today :-) I was watching the YouTube channel of a guy who plays guitar and documents his progress in hours as well. There was a dramatic jump in ability when he got past the 2,500-hour mark. It's another instrument and everyone is different, of course, but I'm curious to see what I'm going to sound like at 2,500 hours (a bit more than twice my current number).

I listened to your performance of Chopin's Op. 9 No. 2 because it's a piece I've been eyeing for a while (the slow speed made me hopeful, but when I looked at the sheet music it looked a bit scary). I LOVED your performance. So relaxed and clean. And your LH is at the perfect volume; you can hear it well but it doesn't interfere with the RH. Do you mind if I ask what your recording setup is? (mic type, position of mics, which DAW, etc.) Very well done! I'm inspired to give it a shot! If it's too difficult, I'll set it aside and come back to it later.

Originally Posted by MarieJ
One of the best things about these Recitals is the fact that other participants inspire us to try new pieces. The sound and video were high quality, and you have a lot to show for a relatively short time at the piano. Well done!

Thank you! And I totally agree with you; it's both the inspiration and the discovery of pieces I didn't know about. Love those aspects of the recital.


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There are a lot more thank you's for me to extend, so thank you peterws, Wie Waldi, lilypad, MarieJ, Calavera, Rachtoven, facdo, Qwerty53, Sam S, and Serge88, for your kind and helpful comments.

@Sam S: The score is on IMSLP

Also, although I have listened to every work submitted, there are some where I feel entirely unqualified to comment, and so abstained from doing so (because they are works in a style that I am not at home in). To all concerned I would still like to say "Well done" for participating and help making this recital what it is.


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thank you QuasiunaFantasia y Serge88 for your nice comments on my piece.

I am also adding my last batch of comments:

08. Peyton - Gnossienne For Stella What a beautiful Hommage Peyton. I really loved this and can see myself listening to this once in a while. I put it on my favorites playlist on youtube. I hope your beloved Stella is doing better and that her recovery goes as fast as possible. I am sure she enjoyed your beautiful composition very much laugh

09. QuasiUnaFantasia - Stimmungsbilder, opus 9 no. 4: Traumerei I did not know Strauss had written for piano. Thanks for showing us new music. I think you did a superb job. Your playing was full of nuances and an amazing touch. It was very convincing all throughout and showed how confident you felt playing the piece. Amazing job smile

10. Flygbladet - Tonbilder part 2 "barnmenuett" (Childrens menuett) This sounded very dramatic, specially the first section. Not what I was expecting given the piece title. I think you made great use of dynamics, to bring out the melody and the singing voice all throughout. Specially in the first section, I noticed a bit too much pedal in certain passages, so the melody went hidden. But in general, this was very enjoyable. Regarding your time away from the piano, I think it is perfectly normal to take a break once a while and use your time with other passions you may have. You might see that your interest in playing will return. What I would suggest is to never fully walk away from it. Give yourself the chance to play once a while some of the pieces you've learnt before and that you love the most just for enjoyment. And also look for repertoire that really inspire you to keep learning. Just please do not abandon playing piano, your play is beautiful and it would be a shame to let those skills go away. PS: I liked the piece Decay a lot, very interesting work. What is the text whispered? the whole sound is impressive

18. psyche23 (Edwin) - Le Piccadilly Wow what a good rendition. Amazing playing. I am usually not much into ragtime but this rag-inspired one I liked a lot. I did not know Satie had these more lively compositions as well (I admit I only know his gnossienes and gymnopedies). I think you did a great job with the rhythm and keeping things very interesting all throughout, and not losing the energy of the piece at any time. I did not spot any of the mistakes you mention. For me your playing was very clean smile Awesome stuff.

19. Ted Jones - Wet Pavements Another great improvisation! I always enjoy these Ted thank you for sharing. They show the infinite palette of possibilities this beautiful instrument offers to us. Maybe one day I will feel in the position to join you improvising :))

20. QuentinP - WTK 1 Prelude 8 Eb minor OMG six flats!! haha. This was such a beautiful submission. what a beautiful prelude. You did an amazing job playing with the voices and with articulation all throughout. Your ornamentation was so on point. What a masterful rendition. I would love to listen to your take on the fugue. Looking forward to your future submissions QuentinP smile

28. rwsavory - The Poet Speaks - Op 15 "Scenes from Childhood" I was so looking forward to listen to this when I saw the list of submissions. I like Kinderszenen a lot, but I really love the second half, and this one is my favorite one from the set. I always thought the piece is very nostalgic, like remembering all those mini-adventures the other pieces from the set evoke, or like saying goodbye to that childhood phase. In that regard, I fully agree with the quote of Maureen Buja in your description. I loved your playing very much. Your voicing was on point, and you let the piece breathe. You also reached that pianissimo that I think is essential for the message of the piece. Loved it smile

29. bSharp(C)yclist (Dan) - Consolation, Op. 30, No. 3 This was very well done BSharp! I truly enjoyed your recording and your piano sounded beautiful smile Very interesting what you mention regarding relaxation while playing. For sure something to keep in mind. I am glad you are noticing improvement with the approach your are taking now.

30. Wie Waldi - The Entertainer This was outstanding Wie Waldi, considering also that you have been learning piano for only seven months. Amazing job! Your technique looks good as well, with very relaxed hands. You balanced both hands beautifully and gave an amazing vibe to the piece. You never lost sense of rhythm and did not seem to rush the piece at any time. I liked the video as well. Great job with the different camera angles and the editing. I very much enjoyed this one. Thank you very much for sharing. Looking forward to your future submissions.

38. facdo - Impromptu in E flat Major Op.90 No.2 Amazing stuff facdo! Outstanding rendition of one of my favorite Schubert pieces. I think you nailed it and have managed to come up with an amazing recording. The practice time invested certainly paid off. I liked the clarity of your runs and the intensity you put on the b section and in the coda. The coda was very impressive. I noticed you rushed a tiny bit there but I am sure you got into the mood of the piece and just went for it. Awesome stuff. your progress is very inspiring, now even more than you got into Schubert, whose music I love smile Looking forward for the rest of the set (No. 1 is my favorite :))

39. Snejana - Contemplation Great job Snejana. You seemed very much in control for the short time you have been improvising. There were very nice ideas all throughout and kept it very interesting. I liked the middle section the most, when you went a bit lower in the register on the bass. The sound was very impressive, it was sort of atmospheric, and set up a very nice mood for the piece. The title goes perfectly with it. Thank you very much for sharing.

40. PikaPianist - Waltz Op. 39, No. 9 Another masterful performance from your side. Very enjoyable. Tchaikovsky really knew how to compose a waltz, didn't he? You more up tempo version was very fun to listen to and very suitable for a dance actually. I can easily picture a ball and people dancing to it. Also your recordings always have such high quality, is impressive. It makes me want to play with my recording set up again, or perhaps with a bit of sound post-processing. Your Estonia sounds lovely in any case. Thank you for sharing smile

This is all from my side for this recital. Another amazing one. I very much enjoyed listening to all your submissions. It is very inspiring to see everyone's progress. See you all for the Beginners pieces recital smile


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QuasiUnaFantasia, MarieJ and AndresVel, thank you very much for your comments!

[Talão, sim! Mas estou tentando fugir para a Alemanha. Acho que agora em Setembro eu vou conseguir me mudar. A situação no Brasil está muito complicada, com caos socio-político-econômico e sem oportunidades para a minha área (de pesquisa em área tecnológica).]

Thank you for subscribing and for the nice feedback on the nocturne! Playing the left hand softly and without accenting the 3rd beat was a big concern to me, so I really practiced that musical aspect a lot. It is true that the recording setup has a lot of influence on the sound and you can get more or less dynamic range based on that. Usually, when you have a pair of well-positioned microphones the dynamic range is better preserved, but you have a bit of loss in that regard due to audio compression when you submit a video to Youtube or save the audio in a low bitrate MP3 format.

My recording setup is relatively simple. I am using a couple of AKG P170, small-diaphragm cardioid mics, placed above the top lid of my piano. They are about 5 cm from the lid, and 30 cm from the lateral edge of the piano, on both sides. They are connected to my PC via an audio interface, Scarlett Focusrite 2i4. I don't do any treatment to the audio, but I think I should be adding a bit of reverb in the mixing stage. Since the mics are very close to the piano there is not much ambiance capture, so adding a bit of reverb could improve the quality.

Regarding the difficulty of that nocturne, I think it is harder than it looks because of the musical aspects. Dynamics, phrasing, proper use of rubato, those aspects require a lot of maturity. I am nowhere close to mastering those, but I think I am at a stage where I can address those aspects with more confidence. Technically, if you have played a waltz with left-hand jumps, it is not a difficult piece. It is just difficult to make it sound like a nocturne. Seeing your progress and skill I think you can definitely try it, but maybe you will not sound as good as you want at this point. You can always revisit it later when you have more experience and your interpretation will be much better. Having some more romantic pieces of a similar style is always helpful. I see that you already did a prelude and a waltz, so doing one of the less difficult nocturnes is a natural progression. Good luck, and I will be checking your progress on your channel smile


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Originally Posted by SMA55
As far as the clicks you're hearing, I'm not sure which one's you mean. My fingernails tapping on the keys often cause clicking noises in my recordings, but I'm not sure if that's what you're referring to. Can you let me know a specific time in the recording when you hear one?

There's one very clear at 6:55
One a bit more difficult to hear is at 9:16


Originally Posted by SMA55
Originally Posted by wouter79
The melody seems at times a bit flat, not singing enough, even though you seem to shape the phrases well dynamically.
This was mentioned also by Pianist685. In a personal communication I had with him, he came to realize eventually that it was less of a singing tone issue and more to do with the fact that I'm using the pedal extremely sparingly. Why? Well, because I was once traumatized while playing Mozart during a jury exam, in which one of the jurors criticized my playing Mozart while using the pedal at all. She claimed that the pedal should not be used at all, because Mozart did not have one to use on his pianos. Despite the fact that she was sort of wrong (because the fortepianos that Mozart used in the later part of his life had a series of knee levers, one of which actually did allow for the sustaining of notes), it still is generally considered proper to use the pedal only sparingly with Mozart, so that there is an extreme level of clarity to the sound. As a result, depending on one's acoustic environment, playing with very little pedal and with little to no reverberations can result in a flatter type sound. In my experience with my piano, it's all a bit of a trade-off.

Yes Mozart will have had access to pianos with pedal.
But I very much like the sound without pedal for Mozart and earlier. It gives that clarity that this music needs. I think this can be done best without pedal, but it's again personal taste.


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16. vte - Vieux Noel in G minor
It does sound snowy and wintery. Thanks for sharing this fun piece.

17. dumka1 - Prelude Op. 11 no 2
Nice playing. I didn't notice the errors and it sounded very clean to me.

18. psyche23 (Edwin) - Le Piccadilly
Interesting. I didn't know about Satie's ragtime works. Your performance oozes energy and panache.

19. Ted Jones - Wet Pavements
The gentle opening lulled me into believing your submission would be less chaotic-sounding than usual, but then it quickly veered into bizarre Ted Jonesy territory. Recitals just wouldn't be the same without your curiosities.

20. QuentinP - WTK 1 Prelude 8 Eb minor
A beautiful prelude indeed. I enjoyed the pensive mood of this expressive performance.

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41. Augustina - Expression An appealing piece which will really shine with a little more polishing. The name seemed familiar and when I looked back though earlier Recitals I found that Monica had chosen her works too. I’m so glad you reminded us of Helen Jane Long.

42. Amy H - Story of You I’ve enjoyed Alexis Ffrench’s music since you introduced us to ‘Bluebird’, so I’ve been looking forward to hearing your submission. I wasn’t disappointed; this was a delightful performance. Thank you Amy!

43. selfishplayer - Keyboard concerto no.7 in g minor BWV - 1058 first movement - Allegro piano solo For me, a ’one try record’ would be a VERY satisfying achievement, particularly if the result could be as bubbly and energetic as yours. Bravo!


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Originally Posted by facdo
QuasiUnaFantasia, MarieJ and AndresVel, thank you very much for your comments!

[Talão, sim! Mas estou tentando fugir para a Alemanha. Acho que agora em Setembro eu vou conseguir me mudar. A situação no Brasil está muito complicada, com caos socio-político-econômico e sem oportunidades para a minha área (de pesquisa em área tecnológica).]

Thank you for subscribing and for the nice feedback on the nocturne! Playing the left hand softly and without accenting the 3rd beat was a big concern to me, so I really practiced that musical aspect a lot. It is true that the recording setup has a lot of influence on the sound and you can get more or less dynamic range based on that. Usually, when you have a pair of well-positioned microphones the dynamic range is better preserved, but you have a bit of loss in that regard due to audio compression when you submit a video to Youtube or save the audio in a low bitrate MP3 format.

My recording setup is relatively simple. I am using a couple of AKG P170, small-diaphragm cardioid mics, placed above the top lid of my piano. They are about 5 cm from the lid, and 30 cm from the lateral edge of the piano, on both sides. They are connected to my PC via an audio interface, Scarlett Focusrite 2i4. I don't do any treatment to the audio, but I think I should be adding a bit of reverb in the mixing stage. Since the mics are very close to the piano there is not much ambiance capture, so adding a bit of reverb could improve the quality.

Regarding the difficulty of that nocturne, I think it is harder than it looks because of the musical aspects. Dynamics, phrasing, proper use of rubato, those aspects require a lot of maturity. I am nowhere close to mastering those, but I think I am at a stage where I can address those aspects with more confidence. Technically, if you have played a waltz with left-hand jumps, it is not a difficult piece. It is just difficult to make it sound like a nocturne. Seeing your progress and skill I think you can definitely try it, but maybe you will not sound as good as you want at this point. You can always revisit it later when you have more experience and your interpretation will be much better. Having some more romantic pieces of a similar style is always helpful. I see that you already did a prelude and a waltz, so doing one of the less difficult nocturnes is a natural progression. Good luck, and I will be checking your progress on your channel smile

[Boa sorte na mudança pra Alemanha!]

Thank you for the explanation about the nocturne and the details of your recording setup. I was using a similar setup for my videos before the Sonatina: 2 small diaphragm condenser mics, one above the treble and one above the bass, and a Focusrite 2i2 interface. I'm going to try playing with their positioning and test an omni type of capsule (was using cardioid before). In theory, these are better mics (Rode NT5) than the Shure MV88+ I recorded the sonatina with, so the issue must be positioning.

You've confirmed my suspicion: it's harder than it looks. Yes, I've played Chopin's Waltz in Am and Prelude No. 4 in Op. 28, but I've never worked on rubato before. I may give the nocturne a shot once I finish working on my current batch of pieces. But I'll go in fully knowing that it may be out of my reach for now.


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Originally Posted by Calavera
19. Ted Jones - Wet Pavements
The gentle opening lulled me into believing your submission would be less chaotic-sounding than usual, but then it quickly veered into bizarre Ted Jonesy territory. Recitals just wouldn't be the same without your curiosities.

"Bizarre", "chaotic" and "curiosity" please me very much, thanks for listening.

Last edited by Ted; 08/25/21 09:16 PM.

"We shall always love the music of the masters, but they are all dead and now it's our turn." - Llewelyn Jones, my piano teacher
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44. Rachtoven - Consolation No. 3 A lovely rich sound from your Kawai. I love this piece, and you did it justice. Great control - beautiful.

45. tyschoco - Sonatina in G Major, Op 55 No.2 1st Movement, Allegretto It sounded like you had fun playing this sprightly little composition - and I enjoyed listening. Well done!

46. Pathbreaker - Alte Liebe Whoa - for 20 seconds I thought my earphones had disconnected. But what followed was worth waiting for smile . That was an exquisite piece, and what a polished performance!


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21. Calavera - Theme of Love
You again with your saccharine music?

22. mmathew - Waltz in a minor, B.150 Posth
You didn't disappoint. That was an enjoyable performance of a piece I'm very partial to. I feel that there might be a tad too much pedal at the beginning, but it's nothing egregious and doesn't really detract from the musicality (and it's certainly not worse than my own pedalling sins).

23. peterws - Winter
That was a real treat to listen to, Peter. The fun you had learning and playing the piece permeates the performance.

24. PianogrlNW (Ellen) - Sonata K331 1st Movement - Andante grazioso
Beautiful playing, Ellen! A performance full of flair of elegance.

25. Ganddalf - Tango
A fun tango piece. Nice job.

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11. JJHLH - Feuillet d'Album Op 45, No 1
Beautiful. You have the expression ability of a really experienced pianist...
I might give this piece a try.

12. pianist685 (Constantin) - Prelude and Allegro HWV 576
Great playing with a lot of expression. Really good. I'd even say it sounds like a professional recording.

15. Serge88 - Boogie Blues Etude
Love Aimee! Great playing, very crisp. You seem at home playing this style.

26. lilypad - The Bass Man Walketh
Awesome playing, very groovy!


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Originally Posted by Calavera
21. Calavera - Theme of Love
You again with your saccharine music?
.

Some of us happen to think that saccharin has an old fashioned charm . . .


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Thanks a lot QuasiUnaFantasia, AndresVel for listening and for your kind words.
And special thanks to facdo for you detailed analysis. You are absolutely right about my hands getting tense. In the video you can see a post-it under my clock, telling me to sit straight and relax my wrists. Actually at my recording it got already a lot better than on the time I started to learn this piece. I had big issues with an extra tight left hand, always hitting the notes with a hammer force. This resulted in a very loud and unpleasant bass. And still you could see there had been some issues left. Your suggested to learn more shorter and easy pieces and this is exactly what I am slowly transitioning into. Let's hear again in October recital with our beginner pieces!


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