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Topic: Rachmaninoff, "Lilacs", Op. 21, No. 5  (Read 6272 times)

Offline rachfan

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Rachmaninoff, "Lilacs", Op. 21, No. 5
on: June 05, 2006, 01:19:46 AM
"Lilacs" is a piano transcription by Rachmanioff of his own song by the same title.  It can be a wonderful recital encore.  While I love Rachmaninoff's own recording of this lush, atmospheric piece, by intention I play it in a more romantic style.   This was recorded by me in 1989 at home using three microphones and a tape deck, the taped recording later being transferred to CD format.  The piano is my Baldwin Model L  grand (6'3").   
Interpreting music means exploring the promise of the potential of possibilities.

Offline daniloperusina

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Re: Rachmaninoff, "Lilacs", Op. 21, No. 5
Reply #1 on: June 05, 2006, 05:37:24 AM
Sounds like a performance that could be beautiful and atmospheric,
hadn't your piano been so out of tune!
In fact, it's close to being a bit painful to the ears:)
Why don't you make some new recordings now? You seem to be a good player
And perhaps skip the third microphone...

Offline rachfan

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Re: Rachmaninoff, "Lilacs", Op. 21, No. 5
Reply #2 on: June 05, 2006, 10:46:34 PM
Hi daniloperusina,

Thanks for the compliment on my playing.  At the time I was recording about every nine weeks or so.  Optimally, one would always like to record with a piano perfectly in tune.  But from a practical standpoint (and recording was actually for my own benefit), it would have been prohibitively expensive.  I should also point out the northern New England weather changes rapidly which also affects pianos.  I've listened to some professional studio recordings and attended live recitals where the piano tuning or voicing left something to be desired.  House pianos in halls are especially notorious.  Even though I have perfect pitch, I can now easily listen through that distraction (similar to getting used to surface noise on vinyl records before CDs were invented), such that it doesn't spoil my enjoyment of a fine performance in the least.
 
The purpose of a third microphone is not so much to record the piano as the music leaves the soundboard, where two mikes are closely positioned next to the piano, but rather to catch the music farther back within the room ambiance, thereby giving the sound a more living and spacious quality, especially for a small room recording.  I first did many microphone placement trials, mapping out each one and making comments on the out takes, some of which were dramatically different from the others.  I was very satisfied with this particular configuration and stuck with it.  So I would still mix the three mikes.

Again, thanks for your nice comment on my performance. 
Interpreting music means exploring the promise of the potential of possibilities.

Offline pianiststrongbad

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Re: Rachmaninoff, "Lilacs", Op. 21, No. 5
Reply #3 on: June 07, 2006, 04:45:30 AM
Hello again!  You record a lot!  I just played this one too so I will comment a bit.  I feel that this should go a bit faster in most places (but everyone has their own opinion).  I think the rubato was a bit overdone later in the piece and there wasn't enough early on.  The last line of the piece make sure you voice the thumb of the right hand when it has that chromatic line.  I know how irregular that part is to voice, but I think it should be a bit more prominent.  Other than those things, I think you play this piece great!

Offline rachfan

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Re: Rachmaninoff, "Lilacs", Op. 21, No. 5
Reply #4 on: June 08, 2006, 03:26:24 AM
Hi pianiststrongbad,

Thanks for your suggestions on Lilacs.  I'll take a look at those.  I have indeed put some rubato into this piece.  While I recognize that it's neo-romantic rather than romantic style, when I listen to Rachmaninoff playing it, although I'm spellbound, he is a bit too straight-forward, businesslike and nonchalant with it.  At least that's how it strikes me.  I felt there was a lot more hidden potential in the piece, so decidedly took a different approach to it.  Often, a great composer will live with the piece during the creative process, and might play it in some recitals, then go on to other endeavors.  A pianist, however, might live with a piece for years or a lifetime and come to understand the piece in a deeper way than the composer ever realized in his/her own association with the music.  So, while Rachmaninoff has always been my absolute favorite composer and pianist, I'm never beyond second guessing him. 

I just listened to your La vallee des cloches, and enjoyed it.  It proves yet again that two pianists (or more) can study the same score and arrive at different interpretations, while still being within bounds of performance practices!  I liked your voicing, contrasting dynamics, and clarity of playing throughout a lot.  Nice job!  Because the piece is so atmospheric, I worked toward a more hazy sound overall, using more pedal.  Despite the odd rhythms due to the randomness of the bells, I also sought to sustain continuity and fluidity of the long line at all times, almost making it a seamless stream of consciousness or aural perception.  I think you tended to compartmentalize sections a little more than I did.  And sometimes, you were quite explicit in articulating a musical idea, where I tried to be more implicit and subtle for the most part.  It makes for such interesting comparisons, doesn't it?  Again, I very much enjoyed your playing! 
Interpreting music means exploring the promise of the potential of possibilities.

Offline rachfan

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Re: Rachmaninoff, "Lilacs", Op. 21, No. 5
Reply #5 on: July 31, 2007, 05:58:57 PM
Where I just had "Daisies" posted here, I thought I'd put up "Lilacs" for some of the newer forum members who would like to hear it.  The amount of transcription work that Rachmaninoff did between the two pieces is markedly different.  The piano accompaniment for "Daisies" was more complete and self-contained, so basically he just embellished it to make it a bit more robust as a piano piece, while still preserving its magical mood.  "Lilacs", however, was a minimal song accompaniment at best that could not possibly stand on its own, so he did major rework to transform it into a piano piece. 

The piano was a little out of tune when I recorded it, but it's totally listenable.  If you've never heard the piece before, I hope you enjoy it.  Comments welcome. 
Interpreting music means exploring the promise of the potential of possibilities.

Offline ramseytheii

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Re: Rachmaninoff, "Lilacs", Op. 21, No. 5
Reply #6 on: August 01, 2007, 02:31:38 AM
To say Rachmaninoff was too straight-forward doesn't give a fair representation of his classic performance, I think.  His performance is so magical because of the economy of pianisim: the melody and the constant oscillating accompaniment are so perfectly delineated, it's practically a miracle.  I can listen to that again and again!

I think you play it very touchingly, but would have to ask for that very quality.  The separation between melody and accompaniment has to be much more extreme, like two different worlds.  Right in the beginning when the first note of the melody comes in, you can hear an accent in the accompaniment!  And later when it gets busier, the accompaniment is definitely too loud.  I think I am justified this in Rachmaninoff's recording; also the piece is written in a very impressionistic way which calls for strict variety of touch.

Many thanks for sharing such a beautiful piece,
Walter Ramsey

Offline rachfan

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Re: Rachmaninoff, "Lilacs", Op. 21, No. 5
Reply #7 on: August 01, 2007, 03:44:00 AM
Hi Walter,

Thanks for your very perceptive and insightful comments on performing this piece.  I'm glad to have had the benefit of your thinking.  I'm sure that I'll go back to this piece someday, and will consider your perspective on it when I do.  I well remember how hard it was to put the piece away, as it is just so beautiful and evocative--it was truly a wrenching feeling to part with it!  I'm glad that you liked hearing it despite the differences in interpretation between the composer's recording and mine.
Interpreting music means exploring the promise of the potential of possibilities.
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