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#381222 05/16/05 10:47 AM
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Anima Offline OP
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I had a Seiler grand for the whole day, so I took my laptop with me and made some recordings. I practiced for about 3 hours first, so do mind that I was VERY tired when I recorded these heh.

Liszt - Un Sospiro
Prokofiev - Vision Fugitive No. 8
Prokofiev - Vision Fugitive No. 10
Scriabin - Poème Op. 32 No. 1

#381223 05/16/05 11:02 AM
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Thanks for sharing! Not sure if you want critiques from us, or if you just want to share with us smile

#381224 05/16/05 11:34 AM
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Anima Offline OP
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Umm, constructive criticism is always welcome smile . Do mind that I cut a lot of dB's, cause of the oversensitiveness of my mic. Some pianissimo notes just dissapeared after editing.

#381225 05/16/05 12:02 PM
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My comments shall be interpretive ones and apply only to Un Sospiro:

- First measure, try starting out with a slow beginning (don't immediately start out in tempo) and build up to a steady tempo in the second arpeggio. The introductory arpeggios should be like waves on a beach, each wave a little bigger than the previous, and then the waves come down to allow the beautiful melody to come through.

- The melody itself should be a wave. It should not be flat. Go up, come down. Play with the ways you can mold the melody into a sequence of phrases, but they should be like conversation, each phrase should be different from the previous even in the smallest detail. For example, the phrase in the 0:17 mark, which is basically a repeat of the previous phrase, should have even more dynamic contrast than the phrase in the 0:07 mark. This gives the audience a sense of growing passion and tension not only within the phrase, but also between phrases. Experiment with this throughout the piece.

- Nice tone at 0:36.

- Nice phrase at 1:10.

- Octaves at 1:42 should build up, start a bit quieter and build up even stronger. If you start at a forte you will have nowhere to crescendo. Nice tone at 2:00.

- Roll the chords faster at 3:06 to 3:18.

- Clean out the pedalling at 3:45.

- Nice tone at 4:44, but start slower at 4:48. Don't rush into tempo, let the audience savor the moment of peace. Try to do what you do at 5:26.

- At 5:33 to 5:44 play the arpeggios in tempo. The first arpeggio (5:26) should probably slower like you are doing, but don't drag out all of the arpeggios.

- Nice chords at 6:05.

Overall, pretty technically sound except for several minor slip ups. The audience should get the feeling that the piece is breathing, "sighing", if you will. Experiment with the dynamics in the phrases and the dynamics between phrases to get a feeling that each phrase builds on the previous, that it is different somehow. That way, you capture the audience's attention and they will always yearn to hear what the next phrase sounds like, and it has the potential to be profound. Have fun!

#381226 05/18/05 01:37 PM
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Heh, thanks. I'll keep that in mind, though I don't agree with everything, I do find that my recording was a bit on the dull side, but I think that I can blame that in my tiredness laugh . I don't agree on the rolled chords, I like em this way, same with the ending. But the beginning was rather flat, I noticed.

Thanks again for the tips.


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