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Talk of the Town: Bavouzet´s Debussy Complete

Jean-Efflam Bavouzet took the Instrumental Award at this year’s BBC Music Awards for the third (out of four) volume of his complete Debussy piano music series on the Chandos label. Read more >>

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Author Topic: Rachmaminov op. 3 no. 2  (Read 3376 times)
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« on: June 18, 2006, 05:53:03 PM »

Live recording, not very exclusive sound quality, LOUD at places  Smiley

I know about the missing bass in the middle section... That's probably the worst flub in the place, also the chords run is not 100% even...

Let me know what you think!

* 14. 6 2006 - koncert - Rachmaninov op. 3 no. 2.mp3 (3685.31 KB - downloaded 123 times.)
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Be'ein Tachbulot Yipol Am Veteshua Berov Yoetz (Without cunning a nation shall fall, [But] Salvation Come By Many Good Counsels)

piano sheet music of Prelude
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« Reply #1 on: June 19, 2006, 05:10:51 PM »

Beautifull. I´m playing the same piece right now, hope to post in the future. Love the Agitato section, very well done, fast but no rush. You do the accents just right. I like the fact you play the bass notes off beat, Some people does it some does not. I prefer it this way, even if you miss one of them Grin
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« Reply #2 on: June 26, 2006, 06:14:28 PM »

You have grasped the overall effect of the piece, and your interpretation is quite enjoyable. 

What would make this an even better performance is more attention to the top notes of chords.  It is evident especially in the quiet sections that some of the top notes are of uneven strength from chord to chord.  In some phrases you bring them out nicely but in others your melodic direction is sometimes ambiguous.  I have noticed this usually occurs when you have interspersed bass notes then have a couple upper chords.  I would suggest giving attention to the melodic line for these top notes. 

I think the effect of unevenness you speak of is not primarily from the chords, but from the need to have a clearly stated melodic line.  Additionally, what helps with more even note placement within chords is to not just plonk your hands down on the keys, but have a more fluid movement.  An analogy would be the swing of a golf club (or any other racquet sport), in which the preparation and follow through for the swing are very important to the end result. 

Agitato is quite nice, and well judged. 

6th bar of double staff section - the second to last eighth seems rushed.  Careful not to over anticipate going down to the bass of the next bar.

Last 2 bars - I know playing large chords very softly is a challenge.  Another place where using more fluid movement in approaching these chords would help.  Think of landing your fingers into the keys, and don't stop the motion when you hear the notes sound - keep the finger motion going and follow through with your approach.  Also voicing the top notes in these types of soft endings is useful.  If some notes don't sound (in a live situation), but the top note is voiced, an audience will still perceived it as a well-played chord. 

Good work here. 
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Made a Liszt. Need new Handel's for Soler panel & Alkan foil. Will Faure Stein on the way to pick up Mendels' sohn. Josquin get Wolfgangs Schu with Clara. Gone Chopin, I'll be Bach
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« Reply #3 on: June 27, 2006, 03:29:27 AM »

The first measure should be a little slower.  Each octave is a seperate 'meal'.

The first page more attention could be made for the melody (early the melody is lost and later it's too strong) and softer in general.

The middle section could be faster, but that's personal taste.

I like the ending section... maybe a bit more rubato would help.

Overall it's a good performance and I enjoyed it very much!

Thanks for posting this!
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