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Thanks AndresVel and Calavera, your comments are much appreciated!

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I realize that this discussion thread is intended to be for the discussion of recital performances, and indeed I will be discussing one below. But seeing as how, during the course of this recital, multiple discordant comments were made by some people in this discussion, regarding the issue of feedback itself (i.e. what kind of feedback people desire, and how to give constructive feedback, if it's indicated, so as not to offend the recipient), I did want hopefully to smooth some ruffled feathers.

First, I've been in touch privately with Sam S, and I had made the suggestion to him that on future recital submission forms, perhaps the question as to what kind of technical feedback is desired could be answered with one of three choices; "1. None; 2: Positive feedback only, please; or 3. Well-intended constructive feedback of all kinds are welcome"--with the default being "None", should the question be left unanswered. He replied that he has a "3-tiered system" for technical feedback that's already in the works for future recitals. That's great! And I'm hopeful that in the future this might help to prevent some hurt feelings over feedback given.

Second, I've been in touch privately with KevinM, whom I myself had unintentionally offended a couple of recitals ago, with a criticism that went on too long, in my failed attempt to be clever and funny. In our private discussion, I apologized to Kevin once again with a bit more of an explanation, and I'm happy to say that he accepted it. As a show of good faith, he even asked for me to provide him with some feedback on his current recital performance, and that follows below. Needless to say, there will be no jokes this time!


35. KevinM - Songs Without Words Opus 19 No. 1
Like you, Kevin, I happen to love much of Mendelssohn's work. I've heard it said that his compositions are not particularly profound, but I disagree with this judgement. It's said that as a child, he was strongly influenced by J.S. Bach and C.P.E. Bach, and in my opinion, that influence is manifest in the counterpoint often found in Mendelssohn's works. I'm not sure why that isn't seen as profound by some.

As for you, Kevin, I can see a progression in your skill as a pianist over the course of the last few recitals. You're clearly working hard at the piano, and your hard work is showing. So congratulations on that! Your latest performance very much demonstrates your love for this piece (it just so happens that this is my own personal favorite selection of his "Songs Without Words"), and it was a pleasure for me to listen to. I think you did a pretty darned good job with it, and I'm quite aware that this is NOT an easy piece to play well. You mentioned in your notes some difficulty that you had in playing the piece up to tempo, but I'm confident that will come for you with continued work on it. You also mentioned your difficulty in bringing out the melody above the accompaniment, and that is indeed tricky with this piece. But you already know about all of that, so I won't belabor those points. The only suggestion I will give to you--in case you aren't already aware of it--is that the left hand at times is subtly assigned the role of carrying the melody in this piece. I will point out two key but subtle places where this is the case in the first part of the piece.

The first place is actually in the opening two measures. There the right hand is playing the arpeggiated tonic and dominant chords, which are actually the accompaniment. The left hand playing the sequence of bass notes, E-G#-F#-B, is actually a melody of sorts here, so those notes need to be brought out above the right hand's playing. But not just in a haphazard way; rather those notes need to be shaped, in my opinion, to follow the contours of their pitches. So first, E its played at a moderate volume (above the right hand's accompaniment), then G# louder, then F# down a notch, followed by the B being played softest of all (but still standing out a bit above the accompanying right hand). And then, on the 4th beat of measure 2, the right hand takes over in the melody-making department, with the A which is the beginning of its melodic theme.

The second place where the left hand needs to be brought out involves measures 8-10. It may not be obvious, but in these measures the right hand and left hand are engaged in a "calling out and answering" dialog. Specifically, in measures 8-9, the right hand calls out with the quarter notes G# and C#, and the left hand answers (or echoes) it with the quarter notes G# and E (in measure 9). Then in measures 9-10, the right hand again calls out with the quarter notes G# and C#, but this time the left hand answers with the quarter notes G# and E# (in measure 10). The point is that all 8 of those quarter notes by which the left hand is answering the right's must be brought out/voiced above the accompanying sixteenth notes in these measures. This is a little tough, because the left hand is also playing some of those sixteenth notes at the same time. So, I suggest that you practice playing just those quarter notes of the right and left hands in measures 8-10, so that you can clearly imprint them in your brain as being the melody that needs to be brought out.

I hope these suggestions might help you in some way. Really good job with a difficult piece, Kevin! Keep up the good work!

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Just did a driveby and listened to facdo's Op. 90/2 Schubert impromptu, Ellen's K331/1, QuentinP's BWV 853 prelude, and SMA55's K545.

Outstanding! You should be pleased and satisfied with your efforts, the music came through.


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Originally Posted by SMA55
...
35. KevinM - Songs Without Words Opus 19 No. 1
Like you, Kevin, I happen to love much of Mendelssohn's work. I've heard it said that his compositions are not particularly profound, but I disagree with this judgement. It's said that as a child, he was strongly influenced by J.S. Bach and C.P.E. Bach, and in my opinion, that influence is manifest in the counterpoint often found in Mendelssohn's works. I'm not sure why that isn't seen as profound by some.

The first place is actually in the opening two measures. There the right hand is playing the arpeggiated tonic and dominant chords, which are actually the accompaniment. The left hand playing the sequence of bass notes, E-G#-F#-B, is actually a melody of sorts here, so those notes need to be brought out above the right hand's playing. But not just in a haphazard way; rather those notes need to be shaped, in my opinion, to follow the contours of their pitches. So first, E its played at a moderate volume (above the right hand's accompaniment), then G# louder, then F# down a notch, followed by the B being played softest of all (but still standing out a bit above the accompanying right hand). And then, on the 4th beat of measure 2, the right hand takes over in the melody-making department, with the A which is the beginning of its melodic theme.

The second place where the left hand needs to be brought out involves measures 8-10. It may not be obvious, but in these measures the right hand and left hand are engaged in a "calling out and answering" dialog. Specifically, in measures 8-9, the right hand calls out with the quarter notes G# and C#, and the left hand answers (or echoes) it with the quarter notes G# and E (in measure 9). Then in measures 9-10, the right hand again calls out with the quarter notes G# and C#, but this time the left hand answers with the quarter notes G# and E# (in measure 10). The point is that all 8 of those quarter notes by which the left hand is answering the right's must be brought out/voiced above the accompanying sixteenth notes in these measures. This is a little tough, because the left hand is also playing some of those sixteenth notes at the same time. So, I suggest that you practice playing just those quarter notes of the right and left hands in measures 8-10, so that you can clearly imprint them in your brain as being the melody that needs to be brought out.

Thanks for this Shepherd, I new something was missing. I had realized something was up in those first two measures and had attempted to make those left hand notes sound above the playing of the arpeggios, but you have demonstrated why that isn't enough.

That calling out and answering dialog in measures 8-10 is something else that really makes this piece something special. I've been so caught up with just having control of the dynamics in those measures I've neglected this aspect and I really need to get it right.

These are just such great insights, thank you.

Last edited by KevinM; 08/27/21 03:14 AM.
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Life got in the way, so my next batch of comments are much later than planned.


08. Peyton - Gnossienne For Stella
This is terrific, I love the mood and style. As well as the referenced Satie Gnossiennes, it brings to mind Michael Nyman’s “The Piano” both due to the lovely ripple of the arpeggiated LH and slightly Scottish flavour to the melody. I’m another who would love a copy of the score you have generously offered to share. Sending best healing wishes to Stella too.

09. QuasiUnaFantasia - Stimmungsbilder, opus 9 no. 4: Traumerei
Gorgeous. Not a composer I would have looked to for piano music, and if I did this is probably not what I would have expected – but then as you say in your notes those were pretty much your thoughts too.
Lovely delicate playing which transmits the dreaminess very effectively.

10. Flygbladet - Tonbilder part 2 "barnmenuett" (Childrens menuett)
I liked this piece, lots of different moods in a relatively short space as I know others have mentioned. I imagine it as children playing at being grownups at a dance, and exaggerating each element, so being extra delicate and dainty in parts, and then stomping around with fun and energy when the music gets more barnstorming.
And yes, the name of the piece does find me involuntarily imagining that they are doing all of this in a barn too, which is unreasonable of me since I am entirely familiar with the Scottish word “bairn” which means a child and must be related.
Your playing does it good justice, even, accurate, nicely contrasting different sections etc.
As to how to rekindle enthusiasm, what I find works for me is to focus only on what I find most fun and/or what most calls me to do it. Let go of any sense of what you “should” be working on or how you “should” do it, and just try to enjoy. And keep it short if that’s all you feel like, but try to reintroduce consistency. Good luck

11. JJHLH - Feuillet d'Album Op 45, No 1
How lovely! Your delicate touch is just right for this piece.
I have never played any Scriabin and yet every time I hear his pieces in ABF recitals I enjoy them. I intend to remedy this situation and learn some.

12. pianist685 (Constantin) - Prelude and Allegro HWV 576
Love the harpsichord VST! Perfect for this piece. I really enjoyed the energy, mood and musical variety you brought out in it.

13. Alpha Terminus - Lotus Land
Welcome back to the group Alpha Terminus! Fab piece, I really love the moodiness of it.

14. AndresVel - Two-Part Inventions, No. 8 in F major (BWV 779)
I love this Invention. Bach is always deceptively tricky in my experience – this piece looks simple on the sheet but putting it together is no easy task. You’ve done a terrific job particularly for the amount of time you’ve been playing. Accurate, nicely balanced and a pleasure to listen to.
If you were to come back to this in the future, one additional aspect to consider would be to think about the flow of the melodic lines and the shaping of the phrases. But you are right to feel proud of this, great job.

Last edited by barbaram; 08/27/21 06:05 AM. Reason: fix formatting

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Ido - Thank you for listening and the nice comment. I missed hearing one of your fine compositions in this recital. I'm pretty sure I listened to everyone. I recall enjoying your submissions for recital #62 and the July piano bar. Maybe we'll hear from you in recital #64.

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26. lilypad - The Bass Man Walketh
Fun and classy!

27. Jason Lenthe - Nocturne in G Minor Op. 15 No. 3
Nice playing. I enjoyed the dynamics and variations across your performance.

28. rwsavory - The Poet Speaks - Op 15 "Scenes from Childhood"
A beautiful performance with a pensive and wistful tone.

29. bSharp(C)yclist (Dan) - Consolation, Op. 30, No. 3
Nice and expressive playing. I like how this piece's beautiful opening shows up again at the end.

30. Wie Waldi - The Entertainer
It sounds like the piece really had you in its thralls. An enjoyably jaunty performance.


Originally Posted by peterws
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 . . .

So do I, Peter, though we might be a dying breed.

Last edited by Calavera; 08/28/21 03:02 AM.
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Originally Posted by lilypad
Ido - Thank you for listening and the nice comment. I missed hearing one of your fine compositions in this recital. I'm pretty sure I listened to everyone. I recall enjoying your submissions for recital #62 and the July piano bar. Maybe we'll hear from you in recital #64.

Thank you so much, lilypad, it's very nice of you. For some reason I don't feel the urge to share my recordings lately (perhaps I'm just too busy), but still, it's fun to listen to all these great submissions!


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15. Serge88 - Boogie Blues Etude
Love it! Energy, heart, bounce and a great sense of fun. I’ve played around a bit with blues improv (at a very basic level) in recent years but it still feels so daunting and challenging to deviate from the sheet music. You make it seem more natural (whether or not that’s how it feels for you, you carry it off with aplomb!)

16. vte - Vieux Noel in G minor
Very pretty. It is actually an excellent idea to learn some Christmas music earlier in the year, that way you actually have something seasonal you can play properly when the time rolls round. I’m almost never in the mood until December, so never have anything Christmassy that is performable. Will I take any action thanks to having this insight on 27 Aug? Unlikely smile

17. dumka1 - Prelude Op. 11 no 2
Lovely. The sound and tone particularly captured my attention and when I read your notes I saw why – how fab to record on a Steinway Grand in a church. Your playing does justice to the beautiful instrument too, simply gorgeous.

18. psyche23 (Edwin) - Le Piccadilly
What a gem, lovely energy and verve

19. Ted Jones - Wet Pavements
Always something of interest in your improvisations Ted. I especially liked the very opening

20. QuentinP - WTK 1 Prelude 8 Eb minor
Gorgeous, pensive of mood with plenty going on.

21. Calavera - Theme of Love
While you may have found that this piece lacked a certain depth after you’d been working on it for a while (something I’ve experienced too), for a fresh listener it has lots to offer. I appreciate the selections of music from the world of video games that you contribute here – it’s really opened my eyes to the richness and variety of music coming from this source. And I enjoyed this one very much too.
(In fact now I’m off to find sheet music for a piece from Minecraft my son wants to learn!)


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Originally Posted by barbaram
19. Ted Jones - Wet Pavements
Always something of interest in your improvisations Ted. I especially liked the very opening

Thanks for listening. I am not very good at beginnings and endings at the best of times, and this was an opening only inasmuch as it started a six minute selection from an hour of recording. But it pleases me that you found something of interest.


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06. barbaram - Dansul Romanesc
Really nice upbeat piece. I like the playing which was very musical.

07. MarieJ - Gnossienne No. 1
Lovely playing. Great piano sound, very pleasant.

09. QuasiUnaFantasia - Stimmungsbilder, opus 9 no. 4: Traumerei
Very interesting piece. Great expressive playing (BTW I didn't like the piano sound very much, it has noticeable artificial attributes).

10. Flygbladet - Tonbilder part 2 "barnmenuett" (Childrens menuett)
Superb playing. You keep it interesting and very enjoyable, which is a rare ability IMO. There's never a dull moment.


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I’m somewhat late, but wanted to thank Sam, and everyone who commented on my submission. I really appreciate the time and trouble you've taken to listen and provide advice and support; such helpful and very kind feedback is invaluable.


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Sam,

Thank you for posting the links to the zip files of the recital performances. My web browser no longer plays music so I cannot listen to the recital mp3 player. Thanks for all you do for us.


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Thanks to peterws, tyschoco, facdo, QuasiUnaFantasia, PianogrlNW, ranjit, MarieJ for their comments on my submission. Some of the comments are quite detailed and I am considering them in my interpretation of the piece.

Sorry for the lateness of my reply but I was busy getting ready for and then enjoying a vacation.

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I'm fashionably late to the party, but I've finished listening to the submissions and wanted to share some quick thoughts!

31. winterflower - I soar now the embers have cooled
I have a soft spot for this kind of piano sound, and it suits the pensive mood of your improvisation.

32. Maira713 - Op. 1 No. 4 ("24 Short and Easy Pieces for Keyboard")
The slower tempo gives the piece a quaint charm. It really does evoke a ballerina in a music box.

33. joangolfing - Air Suisse Op. 36 No.5
Interesting piece. I didn't mind the changes you made to the tempo.

34. Moo smile - Songs without words opus 38 no 3
Great sense of momentum and musicality. Nice work on this challenging piece.

35. KevinM - Songs Without Words Opus 19 No. 1
I don't know the piece well enough to comment on your performance's flaws, but what I can say is that I found it highly enjoyable and expressive.

36. Talao - Sonatina in G Major Anh. 5 (both movements)
Lovely piano sound and nice playing. I enjoyed the lithe energy of your performance.

37. Purrblast - Sonatina in A minor (Op. 27. No. 18)
Thanks for submitting some great Kabalevsky music. This is a fun, clean and enjoyable performance.

38. facdo - Impromptu in E flat Major Op.90 No.2
That's some impressive work facdo. This does sound like the kind of piece where I'd really struggle to bring out the musicality, but you've managed this adeptly in your performance. I didn't notice the mistakes.

39. Snejana - Contemplation
I'll always prefer more pronounced melodies to contemplative music, but I thought your performance was pleasant and soothing.

40. PikaPianist - Waltz Op. 39, No. 9
Tchaikovsky is a gift that keeps on giving! I enjoyed your clean performance and the whimsical insouciance it evoked. Great piano sound too.

41. Augustina - Expression
I'd never have guessed you'd only practised this for a few days, if you hadn't mentioned it. This sounds quite polished to me and I only noticed a couple of hesitations. A beautiful and evocative piece.

42. Amy H - Story of You
A beautiful and expressive performance. Nice control and delicate touch!

43. selfishplayer - Keyboard concerto no.7 in g minor BWV - 1058 first movement - Allegro piano solo
I think I noticed a couple of slightly uneven parts (though I might be wrong), but you did a good job in terms of musicality anyway, and that's what matters most to me.

44. Rachtoven - Consolation No. 3
I loved this, Rachtoven! An exquisite and expressive performance. As far as I can tell, you chose the right recording to submit.

45. tyschoco - Sonatina in G Major, Op 55 No.2 1st Movement, Allegretto
That was a fun sonatina to listen to. Nice control and clean playing.

46. Pathbreaker - Alte Liebe
A highly polished performance that's a treat to listen to. Really great job on the expression and nuances.


Originally Posted by barbaram
21. Calavera - Theme of Love
While you may have found that this piece lacked a certain depth after you’d been working on it for a while (something I’ve experienced too), for a fresh listener it has lots to offer. I appreciate the selections of music from the world of video games that you contribute here – it’s really opened my eyes to the richness and variety of music coming from this source. And I enjoyed this one very much too.
(In fact now I’m off to find sheet music for a piece from Minecraft my son wants to learn!)

Thanks barbaram! I'm not familiar with the music from Minecraft, but I'm sure you'll make your son happy!

Thanks again everyone for all the enjoyable music, and the helpful comments. See you in the next recital folks!

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Thanks again to everyone for the comments on my Scriabin, your encouraging feedback means a lot to me. Congratulations on another great recital.

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You never really know when the last comments have come in, but I suspect that the party is really about over now. At any rate, I would like to also thank AndresVel, barbaram, and Ido for the generous comments on my contribution. Which I hereby do. smile


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I would also like to thank all of you for this inspiring recital, and specially Wie Waldi, AndresVel, lilypad, QuentinP, PianogrINW, peterws, Sam S, Rachtoven, QuaseUnaFantasia, facdo, MarieJ and Calavera for your encouraging comments!

I don’t have yet the knowledge to contribute with feedback to others, but I feel very inspired by the level of the pieces presented. I confess I feel a little intimidated by the "adult beginners" with a lifetime of experience, but on the other hand, I feel encouraged whenever I see/hear a beautiful performance by someone with less than 10 years of learning piano. This means I can also get to that level, with patience and practice!

Once again, thank you all so much for the positive comments. It means a lot!

And sorry for not writing back earlier. This past month I had to deal with some family issues and didn’t want to be on the internet much.


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Originally Posted by Calavera
36. Talao - Sonatina in G Major Anh. 5 (both movements)
Lovely piano sound and nice playing. I enjoyed the lithe energy of your performance.

Thank you for listening, Calavera! And thank you for the feedback! Very much appreciated.


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I've been away from the computer so have not had a chance to comment on most pieces but... my thanks go out to all of you that took the time to listen and especially to comment on my original. It means a lot. Some sent me a private message asking for the score and if anyone else would like it please send me your e-mail address.

I know I have not had a chance to comment on as many as I usually do but you guys (and gals) are truly amazing. Everyone deserves a pat on the back and a toast... so well done. The recital has gone miles above where it started. As always.. special thanks to Sam and to Monica (still love you lady and miss you badly) and to the Super Hunk... (I hope you are well my friend). Cheers.

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