Scriabin - Etude Op. 2/1

[quantum]

Recorded today.  Piano was just tuned, and the hammers reshaped a bit.  The scale is now more even between the bichord / trichord break.  The tone changed a bit as a result, much more rounded.  The una-corda doesn't have as pronounced effect as before, I'm guessing as there is less a difference between the compacted areas of felt on the hammers. 

Scriabin - Etude Op. 2/1
Mic: (2x) Studio Projects B1
Interface: Edirol UA-25
Piano: Yamaha C3

Enjoy!

[wzkit]

Recorded today.  Piano was just tuned, and the hammers reshaped a bit.  The scale is now more even between the bichord / trichord break.  The tone changed a bit as a result, much more rounded.  The una-corda doesn't have as pronounced effect as before, I'm guessing as there is less a difference between the compacted areas of felt on the hammers. 

Scriabin - Etude Op. 2/1
Mic: (2x) Studio Projects B1
Interface: Edirol UA-25
Piano: Yamaha C3

Enjoy!

This is a very good recording, all things considered. One thing I particularly liked about it was your approach to tempo and phrasing - beautiful sense of line. The rubato in particular is perfect for me - a well judged tempo, coupled with the brooding intensity that's necessary for the music.  If there's anything, it really does remind me of Horowitz's approach in that respect. If it was me playing this music, I would have pretty much played it the same way. 

If there's one thing I would prefer though, it would be for the melodic voices to come out even more distinctly, though I can see that you've already tried hard. In this case, one would have preferred the melodic line to be not just louder (which is what you have done), but "thicker", whilst the other voices in the chords would be more subdued. I would have also placed more emphasis on the inner voices at some points, but that's really an interpretative choice. Really really good though. Very musical.

Perhaps it is a limitation of the piano - Yamahas generally aren't capable of the same range of colours/timbres as say, a Sauter.  It's also interesting you noted how the tone of the piano changes quite drastically with tuning/voicing, particularly your comment on how the una corda is not as distinct as before (and that's really important in a piece like this). I noticed that many Yamaha and Kawai pianos do not have the same distinct change in timbre when the una corda is depressed, as say a good German piano like a Sauter. I like that distinct change - really an additional option to the pianist's pallette. Do tell us how the "distinctiveness" of the una-corda changes, as the voicing wears out.

Meanwhile, have fun! I'm saving this and will study when I learn this piece myself

[quantum]

wzkit, thanks verry much for your comments.  I like your ideas about having a different tonal quality between melody and accompaniment, I'll try to incorporate it into my playing. 

I also really like pianos that have distinct difference in sound with the una corda.  I use that pedal a lot to achive more varied and contrasting tonal effects, and on a good piano it can give the music much deeper meaning. 

[kreso]

I like your sound very much- it's very warm and give me a pleasure to listen.
btw.I like Yamaha's pianos (especialy model C3) because of their sound, althaught sometimes they don't have deep sound when you need him (in Liszt for example)

I hope that we'll hear something from you...

[lostinidlewonder]

That was enjoyable to listen to. I felt that the strings sounded too short. The harmonies didn't ring out long or strong enough. I really like hearing this peice played with lots of legato, when it sounds like chopping as the chords ascend it sounds funny to me. It was boarderline legato and chopping to me.

and bar 22, time1:15 in the recording. There is a wrong note, careful to play the Ebb in the RH instead of the Eb.

Experiment with Rubato in the middle voice especially in measures 31, the Eb DD C##C## DD etc broaden it out, not so well timed.

Start crescendo parts softer than you normally would, so you can get louder.

[invictus]

Ok, good new and bad news

Bad News:
I dont think you brought out the expressiveness of this piece, i dont think you put too much into this piece, I just couldn't hear the feelings when you played it, it sounded very buisness minded

'Give me 100 bucks, and i will play for you'

Good news:
You have a great technique