Debussy "Pour le piano"

[vaiva]

Also from my recital in 2005.12.15.
Tell your opinion.
Thank's

[vaiva]

 

[g_flat]

I'm too tired to critique, and you have made critiqueing an especially difficult task with this recording. I'm not familiar enough with this music to really be able to make any judgments on interpretation and accuracy. I can only just the performance as a whole. Your technique is outstanding; I envy you immensely. Your musicality and style too are exquisite. I really have nothing to say. I am in awe of your skill. I wish I could play like that.

I never knew how much I like this suite.

[brahms_schumann]

Also from my recital in 2005.12.15.
Tell your opinion.
Thank's

Your recording is really impressing, but what  comes to an eye, is that You are playing Debussy very clear just like Liszt. This is not a technique piece, and i can hear in your recording very Liszty passages which are not similar to Debussy. Also , Debussy is foggy and very much mystical. You are telling the whole story from the first chord...
But I would recommend you to use your technique in such pieces as Liszt and Brahms..

[wzkit]

I agree with the earlier comments that your technique is outstanding, at least from a mechnical viewpoint.  I do think that your bright tone works reasonably well for the Prelude and the Toccata.  I do happen to think that not all Debussy is fuzzy and impressionistic - some could benefit from a certain degree of Liszian brillance. That said, I still think your playing is in general a little too uniformly loud for my tastes. A greater variation in dynamics, pedalling and tone colours would really help in bringing the interpretation to a higher level musically, in my opinion.

Where that bright tone works against you is in the Sarabande, which I think needs a slightly warmer, somewhat darker tone to suit to solemn mood of the music.  Perhaps you could try using the una-corda to achieve a more mellow tone. You also need to develop a wider dynamic range, particularly in the piano/pianissimo range, which is particularly important in this piece. Your choice of basic tempo in the Sarabande is slow and steady - good for bringing out the sombre mood, but that said, perhaps a little more rubato and bringing out the arc of the phrases more distinctly would make it more interesting. But you should be careful not to overdo this, as the mood would very quickly turn from sombre to wayward with excessive rubato. 

These comments are hopefully not too harsh and are helpful to you. I still think you've got great fingers that I would die for, but what is needed now is much sensitivity in tone and phrasing, and I think the performances would be truly great.

[hwhat06]

what is the op and no for this...i would like to try this... you are amazing!

[arbisley]

I think your skill is extraordinary, and you get a good grasp of the very virtuosic tendencies of the piece.
As you say you would like our opinion, I would like to say a few personal things that spring to my mind. I love Debussy, and I think you play his music quite well, but as said earlier, it sounds a bit too, how should I say, "hard" in a way. Dry is not the word I would use since the music coalesces very well, I just think the actual touch on the keys is almost too precise and mechanical. It is just a very personal view on the matter, as a listener more than anything, and the first impression received is definitely of accuracy, but the horizontal movement is not particularly clear. I feel as if you are pressing on to get through the difficult passages, because you can play them so well! I think you might profit from letting the music breathe a little, and getting a softer touch on the keyboard, without letting go of that wonderful clearness you have in your tone. As I am myself just discovering the interesting aspects of "touch", I realise how important it is to give each note a gentle approach. I myself used to play in a much more agressive way, but have always had soft fingers in the process. I might not be explaining myself well, but for me precision and touch are two separate things, and one can go without the other. In this case I think you could surely try out a softer penetration of the keys, but it is merely my own way of doing it, so I hope you don't mind the criticisms!

After all that, I think such a detailed analysys of approach is not really in my rights at this tender age! Go on playing whatever you do, you can certainly charm the audiences!