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I managed to hear Etude2 and Saltimbanques after saving and playing on MediaPlayer, but not Etude 1.

Interesting composition - but I have to say that it is not a pleasure to listen to a midi file because without the human touch it only becomes "organized" sound and not music...

Ragnhild

Indeed, Ragnhild, which is why I made this clear. But you are enough of a musician to recognize what will happen when you actually hear me or someone else playing it on a wonderful instrument...

Thanks for listening though...

Are the original files MIDI files ?
If so I don't mind converting them to MP3, someone just email the original MIDI files.

I must be strange because I did hear a "human" touch in the piano music (not the orchestra, as Hersh did mention).

I have never heard of Doisneau, so I did some research

Doisneau's work gives unusual prominence and dignity to children's street culture; returning again and again to the theme of children at play in the city, unfettered by parents. His work treats their play with seriousness and respect.

Here are a couple examples of his work, which I think are quite charming.





The music reminded me of some other composer, or maybe a combination of several. Prokofiev comes to mind initially. The music is certain "avant- garde" at this stage.

I'm still blown-away by your command of that keyboard. Yikes, to have your skill.

Congrats, Hersh.

Kathleen

So I downloaded Ivan Moravec's complete set of Chopin Nocturnes via itunes - I couldn't believe the range of classical piano music they had actually, it is really something, definitely recommended, well priced (AUS $16.99) and very convenient (instantaneous and payable on the visa!).

DannyLux suggested Moravec's recordings a while back, and boy was that a good tip - his interpretations are exquisite! Each and every note seems to recieve his full attention and the piano sounds glorious. Rubinsteins complete nocturne recordings are available also - I think I'll get these soon to.

I'm a great fan of iTunes too, stephenc. I've not heard Moravec (correction: I've not even heard OF Moravec) but will try to amend that remiss state of affairs

BTW Chopaholics, I have just added a Wiki entry about Chopin - it's not very well formatted (I was in a hurry) but do please look and see if I've made any mistakes! (I expect so but I just couldn't bear to see that there was NOTHING written about him there).

wiki Chopin

Maryrose, both my English and my knowledge is too limited to look for mistakes, but I like the chronology of works you put up.
I did find this on Chopin on Wikipedia, though :
http://en.wikipedia.org/wiki/Fr%c3%a9d%c3%a9ric_Chopin

I am waiting to hear about your piano-lesson: is it today ?

Ragnhild

Wow!! What a superb and informative article about Chopin, MaryRose. I think you covered everything extremely well (especially choosing to gloss over "who know who.") And I like the sideways suggestion that she was responsible for his early death, which I happen to believe is true.

The only thing I could suggest would be a line or two about his mazurkas, which were so unique, and how they embodied the Polish spirit which so inspired him. Also, perhaps a sentence that he was never to return home to his beloved Poland, and many think that his homesickness was a strong factor that contributed to the melanchony, sadness and even rage in much of his music.

You write so extremely well that I hesitated to make any suggestions. And that's all they are...suggestions.

Especially helpful was the listing of his works. I will make a copy for my own quick reference.

Wonderful, MaryRose.

BTW, I never thanked you for your kind words about my recital performance. I really appreciated your praise.

Kathleen

We commemerate our hero's 197th birthday tomorrow, March 1st.

I don't mind baking a cake (which is scary enough, considering I hardly ever go into the kitchen), :p but it's the number of candles I have to put on top that is a daunting endeavor!

Just a suggestion, as always. But perhaps each of us could come up with a line, a little known or even a well-known fact, a quote, a personal comment or even your favorite piece and why, etc. Nothing fancy.


Kathleen

Wszystkiego najlepszego z okazji urodzin, Fryderyk.

You will remain forever young.

"I have to choose the words I know how to spell."
(from a letter to M. Sand).

I thought this sentence showed Chopin's sense of humor (he had a great one), and it's basically my rule of thumb also.

Kathleen

To Chopin on his birthday, all I can say in Polish is :




Dziekuje bardzo, pani Fryderyk !

Ragnhild

Bon Anniversaire Chèr Monsieur Chopin!

Chopin, happy birthday to you!!

And now I will go celebrate by listening to his Mazurkas played by:
Friedman
Rubinstein (a 1939 early recording which I found floating on the net rather than his late one)

Polish spirit at its best!

To quote his friend Delacroix:

"That incomparable genius... of whom I think so often."

I believe there isn't a single day in the last forty years when Chopin didn't come into my mind in one way or another. Happy birthday to our Beloved Maestro!

Kathleen - that you so much for your suggestions for the Wiki Chopin article. I entirely agree, we need to say more about his Polishness. I've no time now but will do it at the weekend. What I put up was a skeleton article really - anyone can add stuff as they see fit. He he, you and I are on the same wavelength regarding GS, aren't we!!

Ragnhild - thanks so much for asking about my first piano lesson. Well, Angela was everything I had hoped and more: she is approachable, kind, enthusiastic, knowledgeable and inspiring. However I felt a bit overwhelmed because she wants me to completely change my traditional classical technique (hands arched over the keys, lots of Hanon type exercises) to the following: very low seat position, flattish fingers, NO Hanon, low hands and wrists.

Of course, she is right. She must be - you only have to listen to her play. She played quite a few illustrations during my hour with her and her technique and sound quality are amazing. But I'm not sure I am up to the challenge..... I am feeling very concerned. I think she took me on because she felt sorry for me. I'd probably do much better with a more ordinary teacher, such as I used to have, who gives one a couple of pieces to learn and checks one's scales now and then. But I can't miss this opportunity (and honour) so I am going to try...

Maryrose, is this Angela Hewitt* you're studying with? Should be interesting ... IME, the value of studying with a real performer is that they can actually play. The downside is that they sometimes can't explain how they do what they do, or worse, they think they can explain it but what they tell you doesn't really work. Maybe because pianists have to be more on the ball in general they are better at teaching than cellists (who are a sorry lot, overall).

And BTW, happy Chopin's birthday to everyone!

*Later clarification: not Hewitt, but Lear. Sorry about that!

MaryRose: So sorry I forgot to ask about your lesson (thank you Ragnhild for reminding us). Boy, it certainly does sound as if your new teacher wants you to do a complete turnaround. From what you've told us here on the forum, we know you were a very accomplished pianist when you were younger (with the help of an "ordinary" teacher). It is not going to be easy to change.

however....

wow, I was amazed that this new brilliant teacher of yours adheres to practically the same methods I do. Don't get me wrong, I am as far from her ability as I am from the moon, but I have never been able to do that curled fingers thing; they just refuse to arch. And the NO Hanon (I really have to smile at that one!!). I believe I keep my wrists and hands fairly low, certainly not up and poised over the keyboard as is so often seen. I've noticed my fingers are pretty flat when they hit the keys. I haven't measured the height of my bench, so that one has yet to be determined.

And, I am not saying that the technique I use has made me a great pianist, for it certainly hasn't. But it is not the fault of the technique, but of the player (who often gets lazy and doesn't practice as often as she should).

Now, if you are intersted, this is my theory on why I've developed this so-called technique.

I NEVER WAS TAUGHT A TECHNIQUE AT ALL, PERIOD. Everything I do at the piano has come by me naturally. I never had a teacher to tell me how to hold my hands or wrists or fingers. I read about what you are supposed to do and tried it. But it just seemed so forced and unnautural and I was concentrating more on how I was holding my fingers than looking at the music. That can't be right.

Plus, just recently, there was a post on the forum about the pain some people are experiencing in their wrists, arms and shoulders. All due to too much strain. MaryRose, I have NEVER had one nanosecond of pain from playing. (And there have been many days when I have practiced 4-5 hours). The only thing that bothers me is my back. But my back bothers me when I do other things as well, as sit in the car too long. So, I've learned to take more breaks from practice, and that has helped a lot.

Obviously the method you were taught worked very well for you. But it seems to me that it just isn't for everyone.

Anyhow, I think you will make the right decision after a few weeks. Who knows, you might find this new method great. Or much too much to adjust to. Time will tell.

I wish you well.

Thank you all for the great tributes to our poet.

I decided that I am going to take one giant leap of faith and started to learn the 17th prelude today. It has always been my favorite. In the book I often refer to, the author says it is not too terribly difficult technically, but takes a good ear, strong 4th and 5th fingers in the RH and a super legato for the chords...I think I have the first two; the last one will take a lot of practice, but I think it's worth it.

Regards to all,
Kathleen

Hi Hersh:

I hope you don't mind (I didn't think you would), but I posted your glam headshot on the "Show Us Your Pictures" thread here on the AB forum.

Here is a link to it. It should pop right up, if not, scroll down the page.
Here\'s Hersh

Hope you are well,
Kathleen

Maryrose: thank you for telling us about your lesson. I think you are really brave and I know that I would not have the guts to play for such a famous teacher at all.
I am sure you are right about giving it a try, but make sure that the stress does not spoil the fun of playing. I am sure it will be really developing.

I am happy, though, that my teacher started with pointing out all the things she think I am doing right - for me that was the right psychology.
(still remember how it was beeing 13 and getting a new teacher who told me to change everything - I quitted because I just was not able to)

Kathleen: You did right posting that picture of Hershey for everybody to enjoy. (You are just soooo handsome on that picture, Hershey !)


Ragnhild

Maryrose - This is very exciting!! thats really unbelieveable that you have lessons with Angela Hewitt - triple WOW!! (maybe you could tee up a live chat with her in Franks new piano world live chat rooms!!)

How do/will you actually fit a lesson in with her with her?
I visted her website and in the last month she has been to London, Portland, Oregon and Calgary, Alberta, Toronto, Western Canada, New York, Cleveland and Detroit and all the while planning her world Bach tour. The teacher I recently joined watches the clock to make sure I don't get a minute more or less, sounds like Anglea will be watching the clock to make sure she's not late for her flight to some exotic country to play in a packed concert hall!!

Has she set you some assignments as yet?

A clarification on the behalf of MaryRose: Her new teacher isn't Angela Hewitt. It's Angela Lear, the Angela as far as Chopin is concerned. Angela Lear turned her back on a concert career to devote herself exclusively to researching and recording Chopin's works exactly as he himself indicated in his manuscripts.

http://www.angelalear.co.uk/