Scriabin Etude Op.8 No.12 - Rolling Chords

[hardboiled]

My hand cannot span chords larger than one octave in Scriabin's Op.8 No.12. Is it better to roll or omit some of the left hand notes? When I roll the notes, I try to do it as quickly as possible to make the roll less noticeable. However, since I'm basically jumping from one note to another as quickly as possible, there is some sacrifice over control of the note and the rolled chord is somewhat more uneven than if I play it slower. If I roll the two-note chord too slowly, it no longer gives the impression of a single chord; but two separate notes. Yet, this gives me better control over the notes. I haven't had much luck finding information on proper technique or methods for rolling chords. Any input regarding how to go about playing this etude or information on rolling chords would be very much appreciated.

[ramibarniv]

The left hand chords which can't be played together should be rolled as fast as possible, so they sound almost together. I can't teach you a whole piano technique over this forum, but can tell you that one thing which will help is if you quickly let go the bottom note of the rolled chord and move your hand along to be closer and on top of the top note of the rolled chord.
Another thing which can help a lot in this etude is rewriting or redistributing notes from one hand to the other mainly and mostly from LH to RH.
You want to learn more? You are invited to attend my piano camp in Utica NY.
Best wishes,
Rami
rrpcrrpc@yahoo.com
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[Alde]

I wouldn't omit any of the notes.  Rolling the chords would be your best option.

[phil13]

I agree. Roll 'em.

Also, Rami's suggestion of redistributing the LH notes is also a good one. Just be sure to differentiate, through subtle changes, which notes the RH is playing that are the actual melodic phrase and which ones it's playing as part of the LH accompaniment.

Phil

[ramseytheii]

I don't think Scriabin could reach either!  Whatever you do, make sure it's artistic. 

Walter Ramsey

[frederic chopin]

As Rami has said, you can take some LH notes in the right, especially the ones that go above middle C or overlap with the RH.

Don't omit any notes - I presume you mean LH chords like D#-G# - because the G# is very important harmonically.

[radmila]

Definitely do not omit any notes. Scriabin's music sounds more exciting and less predictable with these chords. Make sure that you always match the top note (and not the bottom) of the left hand with the right hand octaves so you don't loose the steadiness and clarity. 

[jlh]

I agree.  Don't omit notes.  Roll the chords you can't reach, but I wouldn't advise taking the higher LH notes with the RH, afterall this is an etude and that just seems to me like cheating.  To roll effectively, as radmila posted above, you should match the top note of the LH chord or interval with what you play with the RH.

[frederic chopin]

...but I wouldn't advise taking the higher LH notes with the RH, afterall this is an etude and that just seems to me like cheating.

I used to hold this opinion in the past, but now I don't. Of course it is possible to play those higher notes with the LH but in the end, the musical effect is the same if taken by the RH and sometimes, composers write the notes like so just to make the musical lines clearer to the performer. In this etude, taking some notes in the RH is only occasional and does not occur with every repetition of the LH figure - if it were the latter, only then I would consider that cheating.

[ramibarniv]

I agree.  Don't omit notes.  Roll the chords you can't reach, but I wouldn't advise taking the higher LH notes with the RH, afterall this is an etude and that just seems to me like cheating.  To roll effectively, as radmila posted above, you should match the top note of the LH chord or interval with what you play with the RH.

This "cheating" notion is silly, but if you want to use it as an exercise, by all means learn it as written.
However for performance, it is a concert piece and any performing pianist in his/her right mind would rewrite/redistribute notes between the hands, as to make it the best performance possible.
Best,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[rob47]

true i agree with
about taking one or two of the really high notes with the RH

[frederic chopin]

true i agree with
about taking one or two of the really high notes with the RH

Hahaha! That's really clever - you must have a lot of time on your hands!

[danny elfboy]

My hand cannot span chords larger than one octave in Scriabin's Op.8 No.12. Is it better to roll or omit some of the left hand notes? When I roll the notes, I try to do it as quickly as possible to make the roll less noticeable. However, since I'm basically jumping from one note to another as quickly as possible, there is some sacrifice over control of the note and the rolled chord is somewhat more uneven than if I play it slower. If I roll the two-note chord too slowly, it no longer gives the impression of a single chord; but two separate notes. Yet, this gives me better control over the notes. I haven't had much luck finding information on proper technique or methods for rolling chords. Any input regarding how to go about playing this etude or information on rolling chords would be very much appreciated.

The rolling motion should be very economical and short.
Let's say you need to play the chord C - E but can only reach C - C.
So you position your hand in the C - C position.
Notice that from the C you can reach to the E you can reach there's a very small distance.
What you need to do is position the hand in octave position play the bass C and then quickly slide to the E two tones above the higher note of the octave.

The way to practice making this motion is even is playing the first C then "slide" to the close "E" and rest above the E without playing it. Relax, wait for seconds then depress the E, open the hand in octave position so that the 5th finger is over the 1 octave below E and "slide" to the close C but wait above the note instead of playing it and so on.

[jlh]

I'm not saying that you can't make a musical performance of this by redistributing the notes, but what is the point? It is very possible to play all the LH figures with just the LH, and in fact it is easier to memorize when just the LH plays the notes because like you said, it doesn't happen on every LH figure.

There's no reason in my opinion except laziness why you would need to do this, unless after trying both ways, you find that you can be more musical (that's the key, not necessarily ease of playing).  First think of why Scriabin would require such a quick and large span for the LH.  Is there merit in playing it as written?  If so, what is lost if you redistribute the notes between hands? 

When I started learning this I spent a week trying to play those higher notes with the RH.  What I found is that it is difficult to match the articulation of the LH while playing the RH material.  In fact it was less musical for me to redistribute the notes.  It would have been better and easier had I from the beginning done things the right way.

To say it is alright in this etude to redistribute the notes in the context that it will make it easier seems to give license to forget the music and take the easy way out.  This could quickly turn into a bad habit. It is this blind abandonment that I'm warning about.  At least try it both ways and make an informed decision.

My point is that many people seem willing to change things in the score based soley on how easy it is to play before they have really studied the piece and played it to the point where you can make an intelligent decision about changing things like this.  Also, by suggesting one take the easy way out, you may be preventing them from learning an important lesson about themselves and about piano technique. 

I think anyone studying this etude can learn a lot about moving the left arm from place to place quickly.

[ramibarniv]

I'm not saying that you can't make a musical performance of this by redistributing the notes, but what is the point?

The point is a better result all around.

It is very possible to play all the LH figures with just the LH, and in fact it is easier to memorize when just the LH plays the notes because like you said, it doesn't happen on every LH figure.

"easier to memorize". 1) Not true. 2) Seems like a contradiction when later on you're preaching not to take the easy way.

There's no reason in my opinion except laziness why you would need to do this,

Your opinion doesn't know enough about pianism. The reason is better pianism.

unless after trying both ways, you find that you can be more musical (that's the key, not necessarily ease of playing). 

The Key is best result (you may call it musical) in the least efforts (which includes not harming/injuring your hands).
Trying both ways is a good notion and as I said earlier, if you want it for the exercise aspect of it, do play as written, but not for a performance where you need the best results.

First think of why Scriabin would require such a quick and large span for the LH. 

As someone already said, it is just a way of writing so it is clear where melody is and where accompaniment is. It is not written this way because the composer meant that it should be played this way. I am a composer too and I wrote plenty such things, which are written for clarity one way and played for better execution another way - the 'redistribution between hands' way.

Is there merit in playing it as written?

No.

If so, what is lost if you redistribute the notes between hands? 

No loss, only gain.

When I started learning this I spent a week trying to play those higher notes with the RH.  What I found is that it is difficult to match the articulation of the LH while playing the RH material. 

So there You are, use this as an etude to learn "to match the articulation of the LH while playing the RH material".

In fact it was less musical for me to redistribute the notes.  It would have been better and easier had I from the beginning done things the right way.

I thought you did not want the easy way.
The right way is the way which gives the best results in all respects.

To say it is alright in this etude to redistribute the notes in the context that it will make it easier seems to give license to forget the music and take the easy way out.  This could quickly turn into a bad habit. It is this blind abandonment that I'm warning about. 

Nonsense. Redistributing notes between hands does not give any license to forget the music, on the contrary, it is done in the name of the music, to make it better.
This is a good habit practiced by all piano virtuosos.

At least try it both ways and make an informed decision.

Yes, trying both ways would help make an informed decision. But learning from others' experience would save you a lot of time, that's why there are teachers.

My point is that many people seem willing to change things in the score based soley on how easy it is to play before they have really studied the piece and played it to the point where you can make an intelligent decision about changing things like this. 

This statement is completely wrong. People who change things in the score are usually very experienced pianists/musicians and the reason for doing so is getting the best result possible.

Also, by suggesting one take the easy way out, you may be preventing them from learning an important lesson about themselves and about piano technique.

This is total nonsense and your terminology is wrong. No one is suggesting to take the easy way out, the suggestion is to take the most efficient way.
Best wishes,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[jlh]

this is crazy! lol  I should be sleeping since I have to wake up in like 3 hours! 

The point is a better result all around.

Ok, granted, this is where you're coming from.  However, ease is not always the best way to be musical.  Sometimes even in simple passages a small change in fingering can change the outcome.  Surely you know this.

"easier to memorize". 1) Not true. 2) Seems like a contradiction when later on you're preaching not to take the easy way.

I'm not talking about redistribution here though.  Let's disregard this point because memorization is highly personal and subject to inherent differences of opinion.   

Your opinion doesn't know enough about pianism. The reason is better pianism.

I take offense at that.  We should be discussing the subject at hand, not attacking each other's knowledge on pianism.  Are you just trying to provoke an argument?

The Key is best result (you may call it musical) in the least efforts (which includes not harming/injuring your hands).

Agreed.  However, one should not be spoonfed everything, especially if other ways (such as how Scriabin wrote this) may work better for that individual. 

My opinion is that it is not necessarily a better result to use the RH for this.  You have your opinion, and I have mine. 

Trying both ways is a good notion and as I said earlier, if you want it for the exercise aspect of it, do play as written, but not for a performance where you need the best results.

Exercise is not needed.  If you need to exercise to play a passage, you are on the road to injury.  I take it that you think there is no good reason to play it as written in a performance? 

As someone already said, it is just a way of writing so it is clear where melody is and where accompaniment is. It is not written this way because the composer meant that it should be played this way. I am a composer too and I wrote plenty such things, which are written for clarity one way and played for better execution another way - the 'redistribution between hands' way.

Your opinion is that Scriabin INTENDED for the RH to play those notes?  I'd like to see more hard evidence before I can accept that for face value.

So there You are, use this as an etude to learn "to match the articulation of the LH while playing the RH material".

That and other things.

I thought you did not want the easy way.
The right way is the way which gives the best results in all respects.

You're misinterpreting me again.  I'm against people blindly taking the easy way before they have given thought to the meaning and intention of any given passage.  I'm all for any way which "gives the best results in all respects". 

Nonsense. Redistributing notes between hands does not give any license to forget the music, on the contrary, it is done in the name of the music, to make it better.
This is a good habit practiced by all piano virtuosos.

It's a good habit, yes, but those who are not piano virtuosos probably do not have the experience necessary to assess the situation and make a good decision.  I'm not just talking about this etude either. 

Suppose someone on this site saw that you said something like, "if it's easier, do it this way even though it's written this other way", and they thought, "hey, I'm playing such and such other piece and this certain passage is difficult, so let me change it"? 

Yes, trying both ways would help make an informed decision. But learning from others' experience would save you a lot of time, that's why there are teachers.

Teachers should not be (especially at the high level that this etude is on) spoonfeeding students this information as if they were infants.  They need to learn the process of making sound decisions about things that will affect the performance and not simply given the answers on a silver platter so it will "save them time".

Consider the Chinese Proverb, "Give a man a fish and you feed him for a day. Teach a man to fish and you feed him for a lifetime."

If you always just give your students the answers and don't give them the opportunity to think for themselves, you are robbing them of independant thought and they will always need a teacher to help them.

This statement is completely wrong. People who change things in the score are usually very experienced pianists/musicians and the reason for doing so is getting the best result possible.

Doesn't this contradict your earlier statement that Scriabin didn't intend for it to all be played with the LH, but that it is just a way of writing so that the melody/accompaniment would be clear?  Now you refer to it as changing something in the score?

This is total nonsense and your terminology is wrong. No one is suggesting to take the easy way out, the suggestion is to take the most efficient way.

My terminology is wrong?  Oh do tell.   

Efficiency = ease of playing, in the same way a more efficient car is easier on gasoline, so differentiating between easy way and efficient way is a moot point. 

What you are suggesting is that the easy way is the best way, even though it might not be the intended way of the composer.  I completely agree that one should look for more efficient ways of playing, as frequently the way that is more efficient will also be the most artistic way.  Scriabin was a great pianist, and there's no reason to doubt he knew how to write music that would be both musical and playable as written. 

Bear in mind that I do have relatively large hands, so for someone with smaller hands, it might be better to change it up.  Whatever you do, just don't do it blindly.

[frederic chopin]

I agree that the decision as to whether one wants to take those occasional LH notes with the RH rests with the performer should be an informed one - everyone is different and one rule does not work for all.

However, it should be remembered that the ultimate aim of performing a work is to produce the best possible musical performance where unnecessary movements or effort is avoided and the most efficient way is used.

My teacher, a well respected teacher, examiner and concert pianist who has won many prizes in piano competitions, including the Busoni and Casagrande, has no hesitancy in transferring notes between hands to get the most efficient way of playing and not sacrificing the musical aspects of the work - if fact, the music is usually enhanced by this. He can obviously play the music as written in the score - but why, if only for one's own satisfaction?

[jlh]

I agree that the decision as to whether one wants to take those occasional LH notes with the RH rests with the performer should be an informed one - everyone is different and one rule does not work for all.

This is all I'm saying.   

[ramibarniv]

jlh Writes:
Ok, granted, this is where you're coming from.  However, ease is not always the best way to be musical. 

I write:
You keep on using the word "ease", as if I ever said that word in my recommendations.
I never did and it offends me that you twist or change what I say.
 
jlh Writes:
Sometimes even in simple passages a small change in fingering can change the outcome.  Surely you know this.

I write:
I don't see the relevance here.

jlh Writes:
I take offense at that.  We should be discussing the subject at hand, not attacking each other's knowledge on pianism.  Are you just trying to provoke an argument?

I write:
I am sorry to offend you, did not mean to do that, only state a fact. It is not enough to discuss a subject and ignore the people doing so, the people doing so need to be on the same level of knowledge too. From what you write I can tell that you are not an experienced professional performing pianist and teacher, are you?

jlh Writes:
...one should not be spoonfed everything, especially if other ways (such as how Scriabin wrote this) may work better for that individual. 

I write:
One has to learn to read what the composer wrote and above all to learn to understand the composer's intention when writing what he wrote.

jlh Writes:
My opinion is that it is not necessarily a better result to use the RH for this.  You have your opinion, and I have mine.

I write:
So here is where vast experience comes in handy and also where the result will be the judge.

jlh Writes:
...If you need to exercise to play a passage, you are on the road to injury. 

I write:
You're entering another topic here, are you saying that exercise leads to injury and suggesting that pianists don't exercise?

jlh Writes:
I take it that you think there is no good reason to play it as written in a performance? 

I write:
True, but "as written" does not mean technically to play that way, it only means musically so the content is understood.
I'll insert here again my explanation re "as written":
It is just a way of writing so it is clear where melody is and where accompaniment is. It is not written this way because the composer meant that it should be played this way. I am a composer too and I wrote plenty such things, which are written for clarity one way and played for better execution another way - the 'redistribution between hands' way.

jlh Writes:
Your opinion is that Scriabin INTENDED for the RH to play those notes?  I'd like to see more hard evidence before I can accept that for face value.

I write:
No, my opinion is that Scriabin (as any other composer) couldn't care less how it is played technically, as long as the music came out in a satisfactory manner.

jlh Writes:
I'm against people blindly taking the easy way before they have given thought to the meaning and intention of any given passage. 

I write:
You yourself said that for you it was harder to take LH notes in the RH. So let's drop the term "easy way" and talk about an efficient way.
Yes, meaning and intention comes first and next comes the efficient way of executing it.

jlh Writes:
I'm all for any way which "gives the best results in all respects". 

I write:
So we agree, that's great.

jlh Writes:
It's a good habit, yes,

I write:
I'm glad you agree now that it is a good habit, as before you said it was a bad habit.

jlh Writes:
but those who are not piano virtuosos probably do not have the experience necessary to assess the situation and make a good decision.  I'm not just talking about this etude either.

I write:
So that's when they ask on forums like this and that's when people like me give them advice.

jlh Writes:
Suppose someone on this site saw that you said something like, "if it's easier, do it this way even though it's written this other way", and they thought, "hey, I'm playing such and such other piece and this certain passage is difficult, so let me change it"? 

I write:
Again you are putting words in my mouth, things I never said. Redistributing notes between hands is a good idea for anything and can be applied anywhere. It is not meant to make difficult spots easier, it is meant to follow composer's intentions with the most efficient tools.

jlh Writes:
Teachers should not be (especially at the high level that this etude is on) spoonfeeding students this information as if they were infants.  They need to learn the process of making sound decisions about things that will affect the performance and not simply given the answers on a silver platter so it will "save them time".

I write:
I would expect that from teachers too, but the original poster of the question apparently does not have a teacher, or the teacher didn't do the job right, or else this notion would be imbedded already.

jlh Writes:
Consider the saying, "give a man a fish, he eats for a day; teach a man to fish and he eats for a lifetime". If you only give your students the answers and don't give them the opportunity to think for themselves, you are robbing them of independant thought and they will always need a teacher to help them.

I write:
By telling you to always look for the most efficient way and use the tool of redistributing notes between hands, I am teaching you to fish.

jlh Writes:
Doesn't this contradict your earlier statement that Scriabin didn't intend for it to all be played with the LH, but that it is just a way of writing so that the melody/accompaniment would be clear?  Now you refer to it as changing something in the score?

I write:
1) no contradiction at all.
2) I did not say that "Scriabin didn't intend for it to all be played with the LH". I said: "It is not written this way because the composer meant that it should be played this way". I didn't say he meant or didn't mean, as I said here earlier, he couldn't care less.
3) I used your words of "changing something in the score", I neglected to put quotation marks. I meant no change in the score, just redistributing between hands.

jlh Writes:
Efficiency = ease of playing, in the same way a more efficient car is easier on gasoline, so differentiating between easy way and efficient way is a moot point. 

I write:
I suggest you look up in the dictionary the difference between the 2 words. Efficiency is made of many components, one of which may be ease, but it is not the main thing and not the main idea at all. The main idea is to get the best results in the best means.

jlh Writes:
What you are suggesting is that the easy way is the best way, even though it might not be the intended way of the composer.  I completely agree that one should look for more efficient ways of playing, as frequently the way that is more efficient will also be the most artistic way, but not always. 

I write:
When you understand what I am suggesting, I'll continue this discussion.

jlh Writes:
Scriabin was a great pianist, and there's no reason to doubt he knew how to write music that would be both musical and playable as written. 

I write:
He knew how to write and you have to understand how to read.

jlh Writes:
Bear in mind that I do have relatively large hands...

I write:
So do I, can you hold down a 12th...?
Best,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[frederic chopin]

This is all I'm saying.

You play this etude very well - I enjoyed both your Master's recital recording and the video.

[hardboiled]

Thanks for all the input everyone! Still working on some of the technical aspects of this song, but I'm sure I'll get it down soon!

[jlh]

Rami writes:
You keep on using the word "ease", as if I ever said that word in my recommendations.
I never did and it offends me that you twist or change what I say.

I write:
Then please forgive me for misunderstanding your semantics.  I've heard people justify this topic in the context of simply making the passage easier to play -- and usually by people who really shouldn't be playing this etude to begin with (kind of like some topics on this site like "I can play fantasy impromptu, so I think I'm ready for the Rach 3").  You obviously aren't in this category.

Rami write:
I am sorry to offend you, did not mean to do that, only state a fact. It is not enough to discuss a subject and ignore the people doing so, the people doing so need to be on the same level of knowledge too. From what you write I can tell that you are not an experienced professional performing pianist and teacher, are you?

I write:
I may not have nearly as much experience as you, but I do have a BA in piano performance and nearly finished with my Master's degree also in piano performance.  I also teach studio and class piano to numerous piano and other music students at a major university.  I am also a professional singer, and have sung for ensembles with international influence.  One recent project I worked with was a CD on the Chandos label that was their #1 best seller in the UK.

I think recordings should speak for themselves.  I have seen many of your youtube recordings and I think you play very well.  I have no reason to doubt the soundness of your recommendations.  If you would be interested in giving your opinions of my playing, you can listen to recordings from my last recital at https://pianosociety.com/cms/index.php?section=1080 and also here on this site.  My recording of this etude is among the list.

Rami writes:
One has to learn to read what the composer wrote and above all to learn to understand the composer's intention when writing what he wrote.

I write:
I agree.

Rami writes:
So here is where vast experience comes in handy and also where the result will be the judge.

I write:
Agreed, though what may be a better result for one person may not be the best choice for another.  I concede that this works both ways.

Rami writes:
You're entering another topic here, are you saying that exercise leads to injury and suggesting that pianists don't exercise?

I write:
Not at all.  Excercise is good.  What I'm referring to is the fact that one should not use the piano as a means to strengthen one's muscles.  You inferred (and if you did not, then please disregard) that it takes more physical strain to play these notes with the LH by saying "if you want it for the exercise aspect of it, do play as written".  My stance is that if it is making you tired to move the hand so much (as excercise would fix, I'm assuming), then the solution is not always to change what you're playing, but usually just a simple change of HOW you're playing.  Using the piano as an excercise tool will inevitably lead to injury.  Pianism is not dependant on strong muscles, but on coordination of movement.

Rami writes:
You yourself said that for you it was harder to take LH notes in the RH. So let's drop the term "easy way" and talk about an efficient way.
Yes, meaning and intention comes first and next comes the efficient way of executing it.

I write:
First, I never said that either way was technically more difficult than another way.  With practice, either way can be made just as musical, probably.

Rami writes:
I'm glad you agree now that it is a good habit, as before you said it was a bad habit.

I write:
I never said that making an informed decision after careful thought was a bad idea.  Just the opposite: Making rash decisions without thinking of the musical implications can turn into a bad habit.

Rami writes:
So that's when they ask on forums like this and that's when people like me give them advice.

I write:
... and it's a wonderful thing to be able to gather good advice from sources such as this, and then discuss the advice in an intelligent manner, and I think this has been the case.  I must say I have enjoyed this discussion so far.

Rami writes:
So do I, can you hold down a 12th...?

I write:
How is this relevant?

Peace!
Josh

[ramibarniv]

Hey Josh,

I may not have nearly as much experience as you, but I do have a BA in piano performance and nearly finished with my Master's degree also in piano performance...

Congratulations on all your wonderful accomplishments.

I think recordings should speak for themselves.  I have seen many of your youtube recordings and I think you play very well.  I have no reason to doubt the soundness of your recommendations. 

Thank you for the good words.

If you would be interested in giving your opinions of my playing, you can listen to recordings from my last recital at https://pianosociety.com/cms/index.php?section=1080 and also here on this site.  My recording of this etude is among the list.

I'll listen and be back. Do you play the Etude literarily "as written"?

...what may be a better result for one person may not be the best choice for another.  I concede that this works both ways.

I believe that this particular suggestion of mine would be better for all, providing they have enough pianistic equipment as to differentiate melody from accompaniment at any given time and situation.

You inferred (and if you did not, then please disregard) that it takes more physical strain to play these notes with the LH by saying "if you want it for the exercise aspect of it, do play as written".  My stance is that if it is making you tired to move the hand so much (as excercise would fix, I'm assuming), then the solution is not always to change what you're playing, but usually just a simple change of HOW you're playing. 

I was not talking about more physical strain or getting tired from playing all notes in the LH, I meant that these are crazy jumps at a relatively fast speed and the exercise in doing it with the LH would be for such jumps and not for muscles or strength. And by all means it is possible to do it all with the LH, I just don't see why.

First, I never said that either way was technically more difficult than another way.  With practice, either way can be made just as musical, probably.

Scroll up and you'll see that on April 22, 2007, you wrote:
"When I started learning this I spent a week trying to play those higher notes with the RH.  What I found is that it is difficult to match the articulation of the LH while playing the RH material."

Rami writes:
I'm glad you agree now that it is a good habit, as before you said it was a bad habit.

I write:
I never said that making an informed decision after careful thought was a bad idea.  Just the opposite: Making rash decisions without thinking of the musical implications can turn into a bad habit.

We were talking about hands redistribution as a habit.

Rami writes:
So do I, can you hold down a 12th...?

I write:
How is this relevant?

You wrote: "Bear in mind that I do have relatively large hands..."
I understood that it was relevant to the big jumps in the LH.
And by saying that I have a pretty large span myself, I meant to say that my recommendation isn't necessarily only for small hands.

Peace!
Josh

The same here,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[jlh]

Yes, I played it "as written" for the recital.  I'm working on producing the video from that recital, and I'll post it in the audition room when it's completed.

The Apr 22 quote mentioned a specific difficulty I encountered while trying different methods over the course of a nearly a week's practice, but that is not to say that in the end either way is more challenging than another.  Had I continued on that course, I'm sure it would have been solved within days.

Gotta go practice now... have a great day!

Josh

[ramibarniv]

Josh,
I saw your page and read your bio and stuff, very impressive.
For some reason I can't get to hear any of your recordings.
Can you point me to a url where I can hear, with no trouble, you playing this etude?
Thanks,
Rami

[ramseytheii]

I'm glad this thread turned out nice.  It was getting tense for a moment there!

Walter Ramsey

[jlh]

Josh,
I saw your page and read your bio and stuff, very impressive.
For some reason I can't get to hear any of your recordings.
Can you point me to a url where I can hear, with no trouble, you playing this etude?
Thanks,
Rami

Try here:

https://www.pianostreet.com/smf/index.php/topic,23797.0.html

[ramibarniv]

Hey Josh,
I haven't yet listened to your playing, but will do soon.
Your insisting on playing music literarily "as written" is haunting me, as I don't agree that everything literarily written is/was the composer's intent.
As I said before, some of these things are just ways of writing them, whether for clarity, convenience, or lack of better notation devices.
Therefore my following questions:

Measure 1 and all similar passages, do you play the 1/16 notes as a true 1/16, or do you play it as half of the 3rd 1/8 of the triplet?
Measure 9 and all spots where there are long notes to be held while something else goes on immediately in the same hand, do you hold the 1/4 note octave as written, or do you let go in order to play the rest?
Measure 34 and all similar places, do you hold down the half note, or do you let go in order to play the triplets repeatedly?
Measure 48 and similar places, do you really play the F# with both thumbs in the forth beat?
Measure 54, do you play the 2nd LH chord together, or do you roll it? [Same question goes for the Rachmaninov Prelude in C# minor ("Big Hands"), the part that's written in double piano staves.]

Of course, except for the 1st question, which could have some different ideas, these are hypothetical questions which come to show that "as written" is not always as intended.
Regards,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[jlh]

Hey Josh,
I haven't yet listened to your playing, but will do soon.
Your insisting on playing music literarily "as written" is haunting me, as I don't agree that everything literarily written is/was the composer's intent.
As I said before, some of these things are just ways of writing them, whether for clarity, convenience, or lack of better notation devices.

I do agree with you, don't get me wrong.  As I recently heard on a documentary about pianists: "if you play everything perfectly as written in a score, there will naturally be something missing...the music." (or something to that effect, just in case I got the quote slightly wrong).  I also am aware that there are times when redistribution of notes between hands is warranted.  I'm preparing Beethoven's Op. 111 1st movement for a competition in June and at one point in the developement I redistribute some notes.  I am not new to this concept.

What I was making a case about was that for this piece you made seemed to be saying that picking up the few higher LH notes with the RH will always give you a better result.  My stance is that it might give you a better result.  I think it's something that should be thought about.  Music is not like a cookie cutter -- what works for some or even most people might not work for everyone.  I think if you can play the higher notes in this etude without compromising the musical flow then by all means play the notes with the LH.  Plus it's more impressive for the audience.

I didn't think you'd take this to the next level with your questions below, but since you asked I will try and answer them as accurately as I can.

Therefore my following questions:

Measure 1 and all similar passages, do you play the 1/16 notes as a true 1/16, or do you play it as half of the 3rd 1/8 of the triplet?

I think I play pretty much as written here, as this give slightly more time to prepare the octave leap with the RH.  That's not to say that if you listen closely I won't change it up every once in awhile, I don't know.  I see that you noted this question later in the message.

Measure 9 and all spots where there are long notes to be held while something else goes on immediately in the same hand, do you hold the 1/4 note octave as written, or do you let go in order to play the rest?

Are you talking about the RH here?  If so then there's really no reason to let go of the inner voices since you also have to think about the phrase markings (why would you life your hand up in the middle of a 2-note slur?).  If you're talking about the LH in mm.8-9 and sim, then that's just preposturous.

Measure 34 and all similar places, do you hold down the half note, or do you let go in order to play the triplets repeatedly?

I hold the top note of the half note octave down and play the triplets with fingers 1-2.

Measure 48 and similar places, do you really play the F# with both thumbs in the forth beat?

No, I play the F# on the 4th beat with the RH.

Measure 54, do you play the 2nd LH chord together, or do you roll it? [Same question goes for the Rachmaninov Prelude in C# minor ("Big Hands"), the part that's written in double piano staves.]

My edition (edited by Hirchfeld) has that chord marked to roll the chord in the LH.  I don't roll it, instead, I do the same thing I do for the opening measures of Rachmaninoff's 2nd concerto (and incidentally the same thing I did for the Prelude in C# minor): I break it up into 2 chords.  In this case I play the low octave with the LH and then play the rest.

[ramibarniv]

I do agree with you, don't get me wrong...... 
I also am aware that there are times when redistribution of notes between hands is warranted....
What I was making a case about was that for this piece you made seemed to be saying that picking up the few higher LH notes with the RH will always give you a better result.  My stance is that it might give you a better result.....
I think if you can play the higher notes in this etude without compromising the musical flow then by all means play the notes with the LH.  Plus it's more impressive for the audience.

Glad you agree with me.
Yes, I say that redistribution would give better results to anyone, including you.
BTW, I don't think the audience can tell the difference.

I didn't think you'd take this to the next level with your questions below, but since you asked I will try and answer them as accurately as I can.

As I wrote, except for the first question they were all hypothetical and did not require an answer. They were just meant to show that there are many cases where "as written" is not done for various reasons which I mentioned before.
Best,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/
P.S. I'm listening now to your etude 8/12, will write to you privately.

[jlh]

Wow, you're the first person to give an ALL negative review of my performance of this etude.

Were you listening to the right performance?lol

I'm surprised you couldn't find a single thing you liked about it.  In fact, some of your comments are pretty much just incorrect.  I don't have time to go point by point on them right now (finals and juries next week), but in short it's interesting that you're so nitpicky on the small things (even if they are musically warranted) when they are not 100% accurate on the score (like my choice of emphasis or rubato).  I think some neurotic use of rubato is quite appropriate for Scriabin (within reason -- there should still be structure and flow).  Then again, you hated Scriabin's own performance as well, so I don't feel so bad.

It's interesting since you stated that:
"Your insisting on playing music literarily 'as written' is haunting me, as I don't agree that everything literarily written is/was the composer's intent.

As for it being "quite messy", well... frankly it's not as clean as I'd like it, but it's not "quite messy" either.  I would also like to add that this is a LIVE recording of the last piece of the recital.  The ENTIRE 2nd half consisted of virtuosic etudes by Chopin, Liszt, Rachmaninoff and Scriabin.  I doubt you could play it without missing any notes after all those etudes either. 

Don't get me wrong, I appreciate your comments.  I just get the impression that you were listening to it with the attitude that I'm wrong and you're going to prove how bad a pianist I am.  This is not a friendly way to approach anyone's playing and makes me wonder why you chose to private message me about it instead of just posting it on here so those who are following this thread can benefit.

I'd love to hear and/or see your performance of this, since you apparently don't like anyone else's performances of it.

[ramibarniv]

Dear Josh,

Wow, you're the first person to give an ALL negative review of my performance of this etude.
Were you listening to the right performance?lol

I was listening to you playing this etude, I didn't say everything I had to say, just some of it.

I'm surprised you couldn't find a single thing you liked about it. 

Whether I did or not is not the point, I am not your parents or your 1st grade teacher. I speak to the point and it is my nature to try and correct what I find is wrong, by pointing it out. You asked for comments you got them, take them like a man. People pay me money for telling them things like I told you, which can improve their playing if corrected. You got it free.

In fact, some of your comments are pretty much just incorrect. 

So you say.


I don't have time to go point by point on them right now

Mind you, I'm a pretty busy person myself.

(finals and juries next week),

Wishing you good luck and success.

but in short it's interesting that you're so nitpicky on the small things

Small things make big things.

...Then again, you hated Scriabin's own performance as well, so I don't feel so bad.

I did not hate Scriabin's performance, I said it was bad by today's standards and wouldn't pass now-a-days. You, on the other hand, are living and performing now-a-days and have to pass today's standards.

As for it being "quite messy", well... frankly it's not as clean as I'd like it, but it's not "quite messy" either.  I would also like to add that this is a LIVE recording of the last piece of the recital.  The ENTIRE 2nd half consisted of virtuosic etudes by Chopin, Liszt, Rachmaninoff and Scriabin. 

If you can't handle it, why do you choose such a program?

I doubt you could play it without missing any notes after all those etudes either. 

The subject of this discussion is not me and my playing/performing abilities, at most, me and my ears.

Don't get me wrong, I appreciate your comments. 

You could have fooled me...

I just get the impression that you were listening to it with the attitude that I'm wrong and you're going to prove how bad a pianist I am. 

I don't have an attitude, I just listen to what's there. Yes, I'll admit I was happy to hear that you missed one high D# in the left hand and hit what sounded like an F# above, something which would not have happened had you redistributed those high notes to the RH. I do feel you are wrong with your insisting not to redistribute here.
I have no interest to prove that you are a bad pianists and I don't think you are one and remember that everything I said was based on listening to your playing of just one piece, this etude. As a matter of fact, I think you are very talented and with great abilities and capabilities, but I do have a problem with your teachers who let you play this etude like this.

This is not a friendly way to approach anyone's playing

I thought I was being more than friendly giving you my time and expertise for free and doing so in private

and makes me wonder why you chose to private message me about it instead of just posting it on here so those who are following this thread can benefit.

I didn't want it to turn into what you made it now - a public unpleasant discussion

I'd love to hear and/or see your performance of this, since you apparently don't like anyone else's performances of it.

You are invited to come to any of my concerts, I'll play it as encore for you.
Best wishes,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[jlh]

What can I say, you're good at shifting the subject away from yourself.

If you knew who I study with, you would not be so quick to say bad things about him. 

I am done with this discussion unless you have something constructive to add.  Being my parent or 1st grade teacher is irrelavent, you should always be constructive in your criticizm. 

All along this has been about how you're right and I'm wrong, and your experience listinening to my Scriabin proved that, since you were "happy" that I missed a note.  I won't continue this discussion under those terms.

Josh

[nicco]

Wow, a lot of discussion over this.

My teacher made it very clear that in this etude, you shouldnt move notes to the RH, because playing them with the LH creates a certain tension, both in the time\rythm aspect, and the dynamics\voicing. It just sounds completely different when the LH gets up there and really nails those high notes, rather then when the RH just puts them in as filling (Because it will sound like that no matter what if you use the RH)

[ramseytheii]

What can I say, you're good at shifting the subject away from yourself.

If you knew who I study with, you would not be so quick to say bad things about him. 

I am done with this discussion unless you have something constructive to add.  Being my parent or 1st grade teacher is irrelavent, you should always be constructive in your criticizm. 

All along this has been about how you're right and I'm wrong, and your experience listinening to my Scriabin proved that, since you were "happy" that I missed a note.  I won't continue this discussion under those terms.

Josh

I think this is wise.  Really, the above comments come off sounding so rough and petty.  Does one need to go so far to prove a point?  Also, this business of picking apart a person's post and responding to sentence fragments is frankly bad manners.  Relax for God's sake and stop picking on every little point.

Walter Ramsey

[ramibarniv]

I think this is wise.  Really, the above comments come off sounding so rough and petty.  Does one need to go so far to prove a point?  Also, this business of picking apart a person's post and responding to sentence fragments is frankly bad manners.  Relax for God's sake and stop picking on every little point.

Walter Ramsey

Walter Ramsey,
I am reacting to posts addressed to me, and/or about me, and I do it the best way I know how.
If you don't like my reactions or the way I do it, don't address posts to me, and/or write about me.
Frankly, it is bad manners to take sides.
Best,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[ramibarniv]

What can I say, you're good at shifting the subject away from yourself.

I didn't know it was about me to begin with.

If you knew who I study with, you would not be so quick to say bad things about him. 

What can I say, I could only judge by what I heard.

I am done with this discussion unless you have something constructive to add.  Being my parent or 1st grade teacher is irrelavent, you should always be constructive in your criticizm. 

I thought I was being very constructive in my criticism, all you have to do is consider what I said and improve on that. About not being your parent or 1st grade teacher, you attacked me for not giving you compliments and this is what came to mind, sorry.

All along this has been about how you're right and I'm wrong, and your experience listinening to my Scriabin proved that, since you were "happy" that I missed a note.  I won't continue this discussion under those terms.
Josh

It wasn't at all about how I am right and you are wrong, that was a very small part of my comments to you. I wrongly phrased that part of my comments. I actually wanted to go back and change it, but was in a rush and couldn't figure out how to do it fast enough.
I was not happy you missed a note (I miss a note occasionally too, everyone does). Let me rephrase it: I was sad you missed that note, which could have been prevented with redistribution.
Best,
Rami

[ramseytheii]

It wasn't at all about how I am right and you are wrong, that was a very small part of my comments to you.

Small things make...?

I wrongly phrased that part of my comments. I actually wanted to go back and change it, but was in a rush and couldn't figure out how to do it fast enough.
I was not happy you missed a note (I miss a note occasionally too, everyone does). Let me rephrase it: I was sad you missed that note, which could have been prevented with redistribution.

This reminds me of the Clinton defense, "It depends on what the meaning of 'is' is..."  Changing the word "happy" to the word "sad" is hardly rephrasing, it's redefining.  But I am happy you decided to negate that comment... or am I sad... oh well, either way it works. 

Walter Ramsey

[ramseytheii]

Walter Ramsey,
I am reacting to posts addressed to me, and/or about me, and I do it the best way I know how.
If you don't like my reactions or the way I do it, don't address posts to me, and/or write about me.
Frankly, it is bad manners to take sides.
Best,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

This is a public forum, and if you don't want people to respond to your posts, send them in private messages.  I am taking the side of civility and good manners, so whoever is on the brunt end of bad manners, I am on their side.

Walter Ramsey

[jlh]

Rami,

I don't need good compliments to make me feel good.  It is only critical advice that will make anyone a better pianist, which is something I'm always working on.  I know my live recording of this is not perfect.  I also take some liberties with certain things like rubato that I think make it unique and personal.  There is also an aspect of spontineity inherent in Scriabin's music with regards to rubato and dynamics (and fact is that Scriabin never played his music the same way twice...). 

I also don't mind critical advice, no matter who it comes from.  I welcome advice.  What I didn't like from you was the way in which you gave your critique.  It came across rather like you were looking for mistakes and were pleased when you found them.  Giving constructive advice to others in a friendly way will make your suggestions more effective, and people will respect your opinions as a result.

Of the 10 comments you made about my playing, all 10 of them were negative destructive comments.  Some I agree with but most I do not, and some of them are simply inaccurate observations in my opinion, which is what made me wonder if you were listening to the correct performance.  Only 1 comment you made offered a solution, which was the redistribution issue you've been preaching all along, and that was in reference to a single missed note.

What kind of reaction did you expect?

[m]

Whether I did or not is not the point, I am not your parents or your 1st grade teacher. I speak to the point and it is my nature to try and correct what I find is wrong, by pointing it out. You asked for comments you got them, take them like a man. People pay me money for telling them things like I told you, which can improve their playing if corrected. You got it free.

 

Hahahahah,
 
Who is talking here!!!

Mr. Bar Niv,

You are really something else. You are really thinking that you are so important and you smart...

 

And that was a message written by you, i. e. the person who did not have enough guts to aknowledge TONS of mistakes in one single exposition of Mozart Sonata I pointed to you (BTW, for free, despite pretty high fee I am charging for my lessons).
IIRC, you were blah blah blahing something like that was your interpretation  and my comments were "petty, student-like, academically-dry and lack a real knowledge and understanding of music, beyond the notes/rests/slurs".

You went as far as to proclaim that you are at least as good as Michelangeli or Argerich, and better than Rubinstein.

Your sense of self importance is quite amusing. Sure, you could be pretty good in distributing flyers for their concerts. But...

Common, do you really think people are idiots here? Do you have enough intelligence to understand that most of people are actually inteligent enough to understand where all your BS is coming from?

In any case, you enjoy yourself, Mr. Bar Niv, promote yourself on  Garageband, and have good luck with your "Rhapsody", where some babushkas think you are a "genius" 'cauze your SOOO patient...

My best wishes, M

[m]

Josh,

I actually liked your etude. There are a few different ways of its interpretation, one of them being quite straight forward (like young Horowitz, for example).
On the other hand, you choose a melodical approach, which is perfectly fine, since you are following it very logically and consistantly. I am not sure if it is your own way, or the way your teacher taught you, or the MUTUAL result, and in fact, I don't care, as the whole piece makes a perfect sense.

There were however a couple things which bothered me. The first thing was some lack of abondance in the coda, where I'd want to hear complete "let it go" and I feel you are little bit too careful.
Another thing was that there were a couple phrases where you start the motion from 3rd or 4th note, while I'd like to hear it from the beginning of the phrase.
And last, but not the least, the accuracy of your performance might be OK for a student concert, but would not be accaptable for a competition, by any stretch, so some practicing is in order . But I am sure you realize it yourself.

Best, M

[jlh]

Josh,

I actually liked your etude. There are a few different ways of its interpretation, one of them being quite straight forward (like young Horowitz, for example).
On the other hand, you choose a melodical approach, which is perfectly fine, since you are following it in a very logically and consistantly. I am not sure if it is your own way, or the way your teacher taught you, or the MUTUAL result, and in fact, I don't care, as the whole piece has a perfect sense.

There were however a couple things which bothered me. The first thing was some lack of abondance in the coda, where I'd want to here complete "let it go" and I feel you are little bit too careful.
Another thing was that there were a couple phrases where you start the motion from 3rd or 4th note, while I'd like to here it from the beginning of the phrase.
And last, but not the least, the accuracy of your performance might be OK for the student concert, but would not be accaptable for competition, by any stretch. But I am sure you realize it yourself.

Best, M

Thanks for the comments, Marik!  Much Appreciated. 

This was one of the last etudes I added to the program, and if you do a search of my posts leading up to the recital, you can see that I was doing everything in my power to prepare it, since it was a brand new piece for me.  Yes, you're right, I was a bit careful in the end, partially because I knew fatigue was starting to set in and didn't want to completely screw it up.  Pacing myself is something I'm still working on...

My teacher pretty much let me work on this one myself, as he's trying to develop in me more artistic independance, and not just dictate what should be done in all cases.  I think I had maybe 2-3 lessons (including the dress rehearsal) where we looked at this etude together, though I had been working on it off and on for a short while.

Very true about the accuracy.  I do realize that competitions require a higher level of accuracy.  I was the competition announcer for an international competition 2 years in a row, and got to hear all the competitors both times.  The level must be higher.  Like I told Rami, I know this is not a perfect performance of this etude.  This is why I'm not yet touring and recording actively -- I still have some improving to do.

In fact, I'm going to be competing in an international competition myself in June (not playing this etude...), and right now I'm preparing the repertoire for the 3 rounds.  Should be fun, but I've got some serious practicing to do!

[m]

I think I might even know who is your teacher. There is a very good chance your teacher knows who is Mr. Bar Niv. That would be fun 

In any case, good luck with your Competition.

[jlh]

I think I might even know who is your teacher. There is a very good chance your teacher knows who is Mr. Bar Niv. That would be fun 

Indeed...   

[ramibarniv]

Mr. Bar Niv,
You are really something else. You are really thinking that you are so important and you smart...

Mr. Marik,
No, not important and not smart, just gave my comments upon request and did it privately.

And that was a message written by you, i. e. the person who did not have enough guts to aknowledge TONS of mistakes in one single exposition of Mozart Sonata I pointed to you

I was not interested in your opinion or comments, they don't matter to me and I don't have to acknowledge your nonsense.

(BTW, for free, despite pretty high fee I am charging for my lessons).

I did not ask for your comments, Josh asked for mine and I gave them to him privately. He decided to turn them into a public discussion.

... that was your interpretation and my comments were "petty, student-like, academically-dry and lack a real knowledge and understanding of music, beyond the notes/rests/slurs".

True.

You went as far as to proclaim that you are at least as good as Michelangeli or Argerich, and better than Rubinstein.

Other people said that first. About Rubinstein, I said that other people said my Polonaise 0p. 53 was better than his and I agreed.

Your sense of self importance is quite amusing.

Be amused.

Sure, you could be pretty good in distributing flyers for their concerts. But...

I don't know what you're saying here.

Common, do you really think people are idiots here? Do you have enough intelligence to understand that most of people are actually inteligent enough to understand where all your BS is coming from?

No, just few idiots. Please spare me your BS.

In any case, you enjoy yourself, Mr. Bar Niv, promote yourself on  Garageband, and have good luck with your "Rhapsody", where some babushkas think you are a "genius" 'cauze your SOOO patient...

What's wrong with Garageband, YouTube, and all the other sites I'm on?
You obviously were on my Rhapsody site and read some comments by participants, but either you don't understand what you read, or you purposely twist things so you can make fun of me.
No one said I am a genius because I am so patient. Here is what 2 different people said:
1) "Rami was the epitome of the patient pedagogue."
2) "You're a genius! I have often expressed my awe and admiration for your teaching, but this is about your brilliance of management. BRAVO!"

My best wishes, M

Yup, the same here.
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[jlh]

I was not interested in your opinion or comments, they don't matter to me and I don't have to acknowledge your nonsense.

The difference between you and Marik, Mr. Bar-niv, is that Marik is being respected here based not on what he says about himself but in the quality of his performances and by his good manners.  If you knew who Marik was, beyond the anonymity of this forum, his comments would matter much more to you than most other people.  Trust me. 

I did not ask for your comments, Josh asked for mine and I gave them to him privately. He decided to turn them into a public discussion.

If I had asked you privately for your comments, then it should have stayed private, but I didn't.  I asked publically for your comments and couldn't have cared less if you gave them privately or publically.  You probably thought that since you weren't giving comments publically that it wouldn't matter how you presented your case against my playing.

Other people said that first. About Rubinstein, I said that other people said my Polonaise 0p. 53 was better than his and I agreed.

Maybe you don't remember what you said because it was 3 months ago.  Let me copy from the webpage and see how closely your memory of this follows fact:

Aapton: "Only Rubinstein plays it better, but I don't think that is an insult, is it?"
barniv: "Thank you. No, not an insult, though I and many other people think I play it better. I'll admit though to some similarity in musical approach."

Whom do you list first in regards to who thinks you play BETTER than Rubinstein?  That's right, you list yourself as the first and most important witness of your legendary greatness!  This doesn't read like you say above, that "other people said it first and I agreed".  It sounds like the complete opposite... 

[ramibarniv]

Changing the word "happy" to the word "sad" is hardly rephrasing, it's redefining. 

It is what it is, Mr. Ramsey. The fact is, I took back the word "happy" and re whatever you want to call it (English is not my first language) to the word "sad".  Do you have any smart comment to make here?

This is a public forum

That's what I was telling you.

and if you don't want people to respond to your posts, send them in private messages. 

I did initially, but Josh chose differently.

I am taking the side of civility and good manners

You could have fooled me.
Best,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[ramibarniv]

Rami,
...What I didn't like from you was the way in which you gave your critique.  It came across rather like you were looking for mistakes and were pleased when you found them.  Giving constructive advice to others in a friendly way will make your suggestions more effective, and people will respect your opinions as a result.

I'll try that next time, though I was not looking for mistakes, actually I was looking fwd to hearing something great and told you I was disappointed.

Of the 10 comments you made about my playing, all 10 of them were negative destructive comments.

Why destructive? As I said if you pay attention to them and correct them they are constructive.

Some I agree with but most I do not, and some of them are simply inaccurate observations in my opinion, which is what made me wonder if you were listening to the correct performance.  Only 1 comment you made offered a solution, which was the redistribution issue you've been preaching all along, and that was in reference to a single missed note.

All my comments had obvious solutions without having to spell them out. If I said that some rhythm was wrong, the obvious solution is to play it correctly. If I said that I didn't have enough up beats in the LH, the obvious solution is to give them more attention, etc.
The comment in reference to a single missed note, just used that note as an example. There was more I didn't say and I'll say it here as nice and as constructive as I can:
I feel that many of your high notes in the LH, the ones I preach to take with the RH, are accented way more than the rest of the LH accompaniment and that happens because of the big jump the hand has to take in this fast tempo. I feel that these notes can blend in more naturally if taken by the RH, also I feel that a tiny slower tempo would help and be better.

What kind of reaction did you expect?

Not this.
Best wishes and good luck with your June competition,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/

[ramibarniv]

The difference between you and Marik, Mr. Bar-niv, is that Marik is being respected here based not on what he says about himself but in the quality of his performances and by his good manners.

So, you claim I don't have good manners. Now in addition you also heard my performance and decided that the quality wasn't good enough to respect my opinion?

If you knew who Marik was, beyond the anonymity of this forum, his comments would matter much more to you than most other people.  Trust me. 

I don't get this anonymity business of the forum, that in itself is bad manners, but anyway, it doesn't matter to me who Marik is, I've had my share of comments through a life time, I don't have to worry about it now.

If I had asked you privately for your comments, then it should have stayed private, but I didn't.  I asked publically for your comments and couldn't have cared less if you gave them privately or publically.  You probably thought that since you weren't giving comments publically that it wouldn't matter how you presented your case against my playing.

I thought I was being kind by saying things to you privately rather than publicly.

Maybe you don't remember what you said because it was 3 months ago.  Let me copy from the webpage and see how closely your memory of this follows fact:

Aapton: "Only Rubinstein plays it better, but I don't think that is an insult, is it?"
barniv: "Thank you. No, not an insult, though I and many other people think I play it better. I'll admit though to some similarity in musical approach."

Whom do you list first in regards to who thinks you play BETTER than Rubinstein?  That's right, you list yourself as the first and most important witness of your legendary greatness!  This doesn't read like you say above, that "other people said it first and I agreed".  It sounds like the complete opposite... 

You are right, I don't remember every word and the order of the words. The fact that "I" came first in the sentence does not tell the order of things and at any rate it should have been "many other people and I".
Best,
Rami
https://www.youtube.com/user/barniv
https://ramisrhapsody.tripod.com/