Rachmaninoff Prelude Op.23 No. 4

[zhiliang]

Hi everybody,

I would like to obtain some advice from all of you regarding the above mentioned piece. I am currently working on it and have learned all the notes. I am having trouble from measure 16 onwards in voicing out the middle voices when playing the chords. And also the pacing at the last page of the piece to bring out the climax.

Have you any suggestions to the above 2 problems? And can anyone advise me on how to be able to bring out different voices in chords playing like the top one, or middle or the lower ones. I mean the technique to bring out a certain clear line. Thanks a lot.

Zhiliang

[Motrax]

For the chords on the second page, play the middle voice alone a few times through until it sticks in your head well. It becomes easier to accentuate this voice once you add the others. I play the top voice pianissimo and the chords/middle voice either piano or mezzo-piano. This aids in bringing out the base since the melody in the top distracts from the bottom two voices if played too loudly.

Which measures of the last page do you mean, specifically? If you're talking about the F# minor chords, I cross my left hand over my right to play the top note of the chords. This not only produces are more clear top note, but it will slightly slow you down when you move your left hand back down the keyboard. That's just my little interperetation of the music, though, so don't do this unless you too feel that this technique adds more musicality to the section.

[eddie92099]

^Ghosting,

Ed

[rohansahai]

For the measures with the intricate voicing (2nd page), you can try some of these methods to interpret it.
First of all, playing the uppermost part extremely soft should be avoided as it is not only an accompaniement but also has a melody of its own. However, it should not overhaul the middle voice. That's the difficult part about it. Many pianists just play the upper part extremely soft for the middle voice to stand out, forgetting that the upper one is more than just accompaniement.
            One more interesting thing to try out is to make the topmost note of the LEFT HAND accompaniement a little louder than the rest, making it mix a little with the middle voice. See if you like it. Personally, I do! Also, do not rush through this section (this applies to the whole piece, as well). I have, so far never found a recording(except for a very rare one by Irina Smorodinova) which does not rush through the piece. I complete it in about 4 and a half minutes as opposed to most others which do it in a little less than four mins.
             Hope you like my suggestions!!

[MikeLauwrie]

Bollocks: Peter Katin does it in 5 and a half  minutes, and I haven't heard Howard Shelley's version but I bet that's quite slow as well. He's probably my favourite for the preludes, (but the 3rd piano concerto is another matter).

I'm playing the 4th and 5th preludes in my A level recital in March and I think I've got the voicing ok, it's basically a matter of putting more weight onto the finger playing the main melody. I can't tell what the problem is without seeing you play, but I wonder are you relaxed enough? Being tense will make it very difficult.

As to the pace, erm well it's largely a personal thing, but look at the tempo marked, listen to a few different recordings then make up your own mind. Think in terms of the main melody, make that the speed you want it then fit the other parts around it. But try to keep it relatively strict otherwise you will lose the rhythm.

Good luck, it's an awsome piece. Rachmaninoff is definately my favourite composer.

[Chitch]

*it's basically a matter of putting more weight onto the finger playing the main melody*

...

[zhiliang]

Thank you very much for all of your suggestions. I have now managed to do it though sometimes a little uncomfortable with it. Its an awesome piece definitely. Try Op. 23 No. 6 which i have just learnt it, a very moving piece indeed. And it has also parts whereby we have to bring out certain voices too amidst the many other notes playing.

Zhiliang

[zhiliang]

*it's basically a matter of putting more weight onto the finger playing the main melody*

...

Does it basically mean shifting your hand to lean towards to the note where you wanna give it more emphasis? Does the elbows in any way play a part in the executing of this?

Zhiliang