Chopin pieces

[soderlund]

Hi all,

I recorded Chopin's e minor prelude, g minor prelude, c minor prelude, the revolutionairy study, op.25 no.2 and Fantasie Impromptu. This was at first a recording for a friend of mine (who is by the way not a musician), and I did not take it very seriously. I will play these pieces and some others on a recital in two months, so they are in no way finished. The reason I'm posting this is since I could really use some opinions and advices. I know I messed up several sections, so I would just like to point out these things first:
In the g minor prelude, I played an extra measure just at the fortissimo.
I got stuck on the same measure twice on the f minor etude, I will definitely work more on that.
I need to work a lot on my Fantasie Impromptu fast part, voicing, dynamics, lots of things.

So, if anyone would have the energy to listen through this, and tell me some general opinions like I should be more relaxed, or the dynamics in a certain piece, those kind of things, it would be very appreciated and helpful.

Jonathan

[rachfan]

Hi soderlund,

Let me make a few comments on the Prelude in Em.  I got the impression that every note both in the RH and LH were of equal tonal value all the way through until the coda.  Actually, they're not!  First, the RH is foreground with its bel canto soaring melodic line.  It is based on a "sigh motif" much like the effect of a two-note slur where the arm goes into the first note, while the second note is more of a lift-off.  You often strike both notes with equal force, destroying the sigh. 

The LH is background accompaniment.  So you need to balance the hands, and, in particular, quiet down the LH greatly, which is way overbearing and distracting right now.  The ONLY important element of voicing in the LH is the variable voicing of the chords--that is, ONLY the top, middle or bottom portion of the chord that has CHANGED harmonically from the preceding chord is brought out for the listener.  So, while you are playing a chord with the LH, you will be playing a certain note in that chord more prominently than the other notes in the chord based on the change from the prior chord.  The way to play the LH more quietly throughout is to play those chords INSIDE THE KEYS.  That is, do not allow the keys to rise up to full rest position once you play a chord.  Keep the LH keys slightly depressed after playing.  That will shorten the distance between the hammer and the string, meaning the key cannot be energized as much, will accelerate the hammer less, and the effect will be quieter playing in this type of accompaniment. 

On the Prelude in Cm, remember that this is a funeral procession receding into the distance.  Largo is the slowest tempo in music.  I think you need to slow it down even more.  Also, the crescendo at toward the end needs to be toned way down to remain within context.  By that, I mean that the crescendo might go from pp all the way up to mp at the most.  After all, the procession is in the far distantance at that point, so crashing chords just do not fit there. 

I've attached my own recordings below.  Have a listen, as it might better illustrate what I'm saying here.  I think you've brought these pieces along nicely, but there are ways you can apply some more polish to them before playing them in recital.

[piano121]

Hi

First of all, congrats for having all these pieces. Itīs very noce overall.

just a feww considerations bout FI: I wish the 1st section would be a little more clear, All the notes are there, but maybe a little too blured. You could try to pay more atention to your pedalls. On the small Largo  section, It would be better to keep the notes even. In middle section, just get the LH quieter, and try a more lirical sense overall. Sometimes the RH is also to loud. remenber that this section is Soto Voce. I like very much the ending. With a little more practice it will sound very good.

[soderlund]

Thanks for both of your comments. I was a bit worried that I wouldn't get any replies at all at first. I think both your advices make sense, and I will look into it later today.

The e minor prelude is important, it is the opening of the recital. I know that my left hand is currently way to loud, and I have been trying to work on it. Thanks a lot for the thoughts about my c minor too, it is a good idea to slow it down, partly because of interpretation but it would give me more time at the piano too, as the recital will only be about 30 minutes long.
I haven't been able to listen to the recordings yet though, I am writing in school now, and I can't play any music. I will listen later tonight and write again.

I am also aware that the FI is way to blurry. I am constantly reminding myself when playing that it needs less pedalling. I have realised that I do not need to speed the pieces up as it is, I should start doing that about two weeks before the recital. Therefor, I am now practicing it very slowly so I have it controlled at the tenth of May.

I will try to record the whole programme on the grand piano that I will be playing on later. That would be great, first of all, it sounds so much better on the grand piano and in the auditorium, but also, there are no excuses at all for the pieces. I don't know if it is possible, but that would be great.

Thanks again

Jonathan

[piano121]

A question, did you record all of them straight forward, without interruption? just curious.

[soderlund]

Yes I did, that was the reason why I said I hadn't taken these recordings very seriously. I have recorded several other pieces before, but I've never been tempted to post any of those here, with all the insanely good recordings around. It felt better now though when I felt I really needed some advices, and then I wouldn't have to care if they weren't perfect.
I'm quite happy with my technique in some of those pieces though, like the f minor etude, just because I did them all in one recording and I am still feeling technically insecure in some of them.

[soderlund]

rachfan, I have now listened to your recordings. Thank you for taking the time to make those. I really did enjoy your playing, and together with the advices this was very helpful.

I didn't know that the c minor prelude was a funeral procession. To my defense about the ending, I'd like to say that I learnt this piece from two different editions. In one, the dynamics went down, with a softer crescendo like you did it, and in the other the dynamics continued to rise. My teacher seemed to approve of the latter, that's why I did it that way. I do like the interpretation idea of a funeral march more though, I will definitely play it like that.

Thanks again for the recordings, I enjoyed them.

Jonathan

[rachfan]

Hi Jonathan,

You're entirely welcome.  Yes, I do believe that the subdued crescendo in the Cm is more valid, given the funereal imagery of the piece.  One thing to always keep in mind is that there is no absolute f or an absolute p.  Forte varies, so in one piece might be louder or softer than forte in another piece, for example, depending on the character of the piece.  Likewise, that implies that a crescendo must be relative too, rather than being an absolute standard in its degree of loudness.  In this particular context of the crescendo occuring from pp near the end of the Cm Prelude, a very distant sound really, the crescendo should be noticeable but still relatively quiet.  Good luck in playing in your upcoming recital.

David