Liebestraum-Rêve d'Amour (Nocturne no.3) by Liszt

[qwerty quaver]

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[kelly_kelly]

This'll sound weird, but it seems like the right hand is too clear... I thnk it should be more atmospheric, like a veil over the melody... but that's my interpretation. Other than that, it's quite good.

[donjuan]

Certainly understand what Kelly is saying.  Sometimes, the accompaniment tends to distract us from hearing the melody.  However, as she said, it is only one interpretation.  I have heard people play this piece many different ways, and get away with it, so why can't you..

What is really great about your playing is how you can make it move forward constantly.  Some pianists just use too much rubato and like to stay in their little moments, but meanwhile the audience is falling asleep.  This you avoid very well, so keep it up! 

You don't sound too confident with the cadenzas, as it is obvious you learn them in pieces when you begin to slow down.  A liszt cadenza should fly like the wind, and only slow down at the end, and maybe accel. from a slow beginning, depending on context.  But speed should be pretty constant in the middle.

However, I really did enjoy listening to your playing!    I hope you post more!!

[qwerty quaver]

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[donjuan]

ok... it's hard to say, since I cannot see your playing, but from what I hear,

You are right in saying that the accompanyment is "too present," -put it in the background, compard to the melody, but make sure it also lives a life of it's own, with it's own dynamics and priority notes of each hand gesture.  It's important that it is an "accompanying voice," rather than just background harmony that kneels to the melody all the time.

start by not quieting down the accompanyment.  Really pound out the melody, on the verge of percussive sound to make sure it is recognizeable to the listener as the melodic voice, while not changing the tone or volume of the accomp. Practice like this for a few days (it will drive your family crazy) before linearly quieting everything (melody and accompanyment) down.  In the end, you'll have a more projective melody and a fitting accompanyment.

Another technique:  look at your elbow and forearm when playing the accompanyment.  Are they moving in a circular motion? If not, then you are playing with fingers alone, which leads to uneven, difficult-to-control sound in the accompanyment.

[dickreuter]

Well played, musically very mature and also technically very good. One thing you might improve a bit is the right hand (especially in the beginning) should be more in the background so that you can concentrate more on the melody itself.

[qwerty quaver]

Thanks once again Donjuan and Dick for replying!

At last, I know my main problem and how to correct!!
... and thanks for the compliments!!