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Originally Posted by MathGuy
Curiously, the program didn't even mention Schumann's name in connection with it!
Really? I think that's just about unforgivable. I suspect Liszt wouldn't have been impressed either - he certainly wasn't trying to pass off Widmung as his own composition.


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I had a similar experience with "Flight of the Bumblebee" attributed to Rachmaninov in a school recital... It looks like sometimes arrangers get more attention than they really wanted.



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Originally Posted by Pogorelich.
Originally Posted by Kuanpiano
Originally Posted by Pogorelich.
Originally Posted by Kuanpiano
Op.118 no.6! And some work on some kapustin stuff...and sneaked in some Rachmaninoff. OSK, you're doing his 1st sonata? I'd kill to hear you live!


Are you doing 118 6? Yayyyyyy, me too!

I think it's the perfect ending of the opus... so dark and almost removed from the other ones. I so so so love it, especially that minor 10th near the end.. (so glad I can reach it, barely) It's such a genius work! Are you playing the whole opus?

It's my favourite part of the opus...the only ones which I haven't really warmed up to yet are numbers 1 and 4. I dunno if I'll try to take on the whole set, but we'll see. I'd like to do nos 2 and 5 as well but I don't know how I'll approach them...there are so many difficulties in voicing and phrasing that I'm feeling a bit overwhelmed. Brahms is really difficult!


Really, I love 1 and 4! 4 is really, really cool. How about 3, do you like that one? The set is difficult.. it feels like a sonata, really!

Yeah I actually like no.3 a lot as well!! Though I'll give myself more years to finish off the set, because there's a ton of other stuff I'm pretty much dying to play right now!


Working on:
Chopin - Nocturne op. 48 no.1
Debussy - Images Book II

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The Waldstein is killing me...no on second thought, I'm killing it. Groan.


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Originally Posted by gooddog
The Waldstein is killing me...no on second thought, I'm killing it. Groan.

Any specific parts that you're having trouble with?


Working on:
Chopin - Nocturne op. 48 no.1
Debussy - Images Book II

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Originally Posted by Kuanpiano
Originally Posted by gooddog
The Waldstein is killing me...no on second thought, I'm killing it. Groan.

Any specific parts that you're having trouble with?

You asked so here goes:

Overall - my expression isn't there and there are bumps and places where it sounds choppy and unprofessional. I've done a lot of practice in sections so transitioning from section to section needs a ton of work. I'm still trying to learn how to play forte and relaxed and fast all at the same time without tensing up.

Here's some of the problems in the Allegro con Brio
1. LH M20-22 tensing up
2. Transitioning from M 26 to 27. I'm getting the notes but it just doesn't sound right. There's a tiny rubato I just can't pull off.
3. M36 and on - not sweet enough or legato enough.
4. transitioning between M 41 and 42 with that drop to P. The melody line seems to end on the first beat of 42, yet it is also part of the ascending scale.
5. 2nd half of M 46 - When I bring it up to tempo I keep missing the last third and I don't have good control over my decrescendo.
6. Expression M62-65. 62 -63 build but then I want to pull back a bit and build 64 -65 even more. Just can't pull it off.
7. M 104 - 108 - getting the LH even, (small hands).
8. M136 and 138 - sudden drop from F to P.
9. M272 - 274 -I keep rushing.

Then the Rondo (still learning notes in this).
1. My trills are decent but I can't seem to get my LH to sound right.
2. Tensing up with the RH octaves M71 etc.
3. Getting the LH up to tempo M357-366.

I've got a fantastic teacher who is helping me work through this but another viewpoint would be much appreciated. Thanks.



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Hey - I haven't played this before, but since I needed to procrastinate on something else, so here are a few suggestions.


Originally Posted by gooddog
1. LH M20-22 tensing up

(I'm assuming your fingering is 5-3-1)
I have a couple suggestions, based on a similar passage I worked out recently:
Practice this with the double notes removed, so C-A-C-A, until that feels comfortable, and then E-A-E-A until that feels comfortable. I've found this helps the bottom fingers in my hand "understand" how little they have to work. If I just practice with the CE played together, I find that they grip, and especially my fifth finger pulls too much. Of course, the thumb may be the culprit too.

For measure with the A#, I would slide my hand into the keys a bit more to avoid cocking the wrist to get the thumb on the black key, and also make the 5th and 3rd fingers stand up more so that the thumb is not raised significantly higher than if it were playing on a white key.

Originally Posted by gooddog

3. M36 and on - not sweet enough or legato enough.

I always hate these passages. It comes to a flexible wrist, finger legato, legato help from the pedal by doing shallower and delayed pedals, and enough sound, especially on the top note to make it sing. Playing this too softly or delicately just lets the sound die away too soon and makes it impossible to phrase.

Originally Posted by gooddog

9. M272 - 274 -I keep rushing.

I'm going to guess it is because you are anxious about getting to the LH grace notes on time. Do you know why you're rushing? If not, try hands separately to see why. If it is because of the LH grace notes, I found a weird trick useful - just play the LH part, but split it between the hands so that it is easy to play everything in time. Then go back to playing LH only. My theory is that this resets in your mind how it should really sound because in your mind right now you have the incorrect rushed sound.


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Prokofiev Suggestions (again)
Chopin 25/9
And also started Brahms 117/1.


Ravel - Une Barque Sur l'Ocean
Kapustin - Etude No. 7
Bach/Busoni - Chaconne
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Originally Posted by Arghhh
Hey - I haven't played this before, but since I needed to procrastinate on something else, so here are a few suggestions.


Originally Posted by gooddog
1. LH M20-22 tensing up

(I'm assuming your fingering is 5-3-1)
I have a couple suggestions, based on a similar passage I worked out recently:
Practice this with the double notes removed, so C-A-C-A, until that feels comfortable, and then E-A-E-A until that feels comfortable. I've found this helps the bottom fingers in my hand "understand" how little they have to work. If I just practice with the CE played together, I find that they grip, and especially my fifth finger pulls too much. Of course, the thumb may be the culprit too.

For measure with the A#, I would slide my hand into the keys a bit more to avoid cocking the wrist to get the thumb on the black key, and also make the 5th and 3rd fingers stand up more so that the thumb is not raised significantly higher than if it were playing on a white key.

Originally Posted by gooddog

3. M36 and on - not sweet enough or legato enough.

I always hate these passages. It comes to a flexible wrist, finger legato, legato help from the pedal by doing shallower and delayed pedals, and enough sound, especially on the top note to make it sing. Playing this too softly or delicately just lets the sound die away too soon and makes it impossible to phrase.

Originally Posted by gooddog

9. M272 - 274 -I keep rushing.

I'm going to guess it is because you are anxious about getting to the LH grace notes on time. Do you know why you're rushing? If not, try hands separately to see why. If it is because of the LH grace notes, I found a weird trick useful - just play the LH part, but split it between the hands so that it is easy to play everything in time. Then go back to playing LH only. My theory is that this resets in your mind how it should really sound because in your mind right now you have the incorrect rushed sound.
Thank you. They're all great suggestions.


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Deborah
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Today I practiced something pretty easy (actually I sight-read it), but still beautiful - Tiersen's Amelie Poulain. smile



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Ooo, this thread is back. smile

Bach P&F for the day, A major, book I.
Schubert sonata D850, 2nd movement
Some song accompaniments: Webern, Schubert, Duparc, Britten.


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Just finished practicing Corigliano's Etude Fantasy. It's almost completely memorized, but still a good month away from performance-worthy...which is ok, because my recital is a month from tomorrow.

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WTC II/12 - F minor P&F. Have the P under control and half memorized. Started on the F today. Its fun!
WTC I/1 - P&F C major. Halfway through the F. Have to stop and untangle fingers frequently.
D.Scarlatti L23 Sonata in E. Great for trills, p & pp dynamics and delicate articulation.

No more practice for a week while travelling interstate, and have first lesson of the year with my teacher the day I fly back.


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Currently attempting: Bach: WTC I/1,5;II/12; Chopin Polonaise in A; Etude 10/5; Brahms Op 118 No 2 Intermezzo in D; Scarlatti Sonata L23.
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Liszt Mephisto Waltz - If you have not heard it go listen to it - The finest piano piece ever written.
http://www.youtube.com/watch?v=p2Cgr0eZ0rk

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Originally Posted by LegendsPiano
Liszt Mephisto Waltz - If you have not heard it go listen to it - The finest piano piece ever written.
And pretenders like Beethoven's Op. 111 rate honorable mention at best.

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Originally Posted by MathGuy
Originally Posted by LegendsPiano
Liszt Mephisto Waltz - If you have not heard it go listen to it - The finest piano piece ever written.
And pretenders like Beethoven's Op. 111 rate honorable mention at best.


I thought it was Op. 109... Oh, well.

Today, it was: Chopin, Trois Etudes No. 2 (forgive my frinch); Chopin, Preludes Op. 28, Nos. 3, 6 and 21; Bach, Partita No. 4, Allemande and Courante; Chandler, "Melody"; and Beethoven, Bagatelle Op. 33, No. 1.

God, I love playin' piano! grin


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Can't fault your practising list bear ...
thanks for the reminder of the Chopin Prelude 28-6 ... I'm off to my Grotrian Steinweg to
give the work a trundle ... am reminded of the blurb in my version which says

"The slow beating of the repeated notes in the RH should resemble a 'Bebung' effect, every 2nd 8th note barely audible. The important thing however, is the complaining cello-like melody in the LH."

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Originally Posted by Cinnamonbear


I thought it was Op. 109... Oh, well.



No way... he comes closer with 111, which I'm not sure I'd call it THE finest piece ever written, but it is, without a doubt, B's greatest sonata. At any rate, it sure has helll isn't the Mephisto (or anything Liszt, though the sonata makes a very strong case).



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Originally Posted by currawong

Some song accompaniments: Webern, Schubert, Duparc, Britten.


I'm working on Duparc too, but on the singing side. Marvelous stuff. Elgar and Grieg too.

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I'm working on Chopin Etude 10/7, 25/6, 25/12, impromptu No.1, Waltz op.18 and op.42, 1st movement from Concerto number 2. Also Prokofiev piano sonata No.2, First movement.

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