Thanks for the kind words, Arensky. As far as the piece is concerned, the ballade is written in strict ABA form, with the recapitulation being an exact replica of the exposition.
Oh yeah, uh, of course I knew that!
Seriously when I listened to this before it was not focused listening, my first comments are a general first impression. I saw this cool departure from "normal" repertoire in the Audition Room and one I've played through in depth several times and plan to program with Barber's Nocturne on an American music concert in about a year or so. Anyway here's a more detailed post.
On the first page Barber puts breath marks in the melody. I feel you play the chords before these a bit too short, it sbould be restless yes but not abrupt. the little sixteenth notes in m.4 should be faster imo, making a coloristic impressionistic effect. The sostenuto measure that follows this could be softer, as well as more sostenuto. I think the grace notes in m.7 should be quicker, more like grace notes. You play them melodically, which is OK, I feel them differently. Your build up to the cadenza at the bottom of the page is awesome with good timing and intensity. The cadenza is ripping.
You differentiate betwwen marcato, singing and distant very well. At the bottom of the second page where the melody has added 16th notes this could be better shaped so as to convey the flowing feeling, this new figure provides a link into the allargando and fade out, which are excellent.
Allegro con fuocco is great but you let the emotion play you instead of playing the emotion, which leads to some control/clarity issues, such as p. 3 mm. 4-10 and p.4 mm. 1, and mm. 4-5. Your subito mf and mp's are very well done though, the mood and feeling change abruptly from fury to sensitivity. It's great. At the big climax that starts at the last measure on page 3, the low Eb octave should be FF too, why not? The shaping you do there (starting softer) cheats me of what should be a full impact explosion. In fact more restraint (just a little) on the preceeding page would make this climax on p.3 an unforgettable experience for an audience.
The rest of the piece is a verbatim repeat of the first part ( as you pointed out) and you play it exactly the same way. True the markings are the same but somehow it should be different. Hard to explain without demonstrating, but I think you know what I mean. Paerhaps a different tone color, or something.
This is great playing. My final comment is to advise you to channel and communicate the emotions instead of being the emotion. You do this in the lyrical parts (which could be more detailed and introspective imo) but you let the fury take you over. Work at this, it will bring your playing to a higher level.
Thanks for sharing this. I've enjoyed it, the first recording of this work that I've heard.
Topic: Barber - Ballade, Op. 46