Liszt - Liebesträume No. 3 [Video]

[tradge]

nother YouTube video, recorded on my bad quality phone camera cause it's all I have =)

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again, any feedback, comments or constructive criticism is openly welcomed

Tradge

[lau]

It was decently good. Consider getting a haircut.

[tradge]

It was decently good. Consider getting a haircut.

I got my hair cut this afternoon actually, its now 2 inches shorter

[ganymed]

are you female or male?

[lau]

oo, two inches. When I get my haircut it I usually cut it to a nice semi-buzz. Then i grow it pretty long and repeat the cycle. I probably get a haircut only 4 times a year.

and yes I couldn't tell if you were female or male. You looked like a male when you were playing but when you looked at the camera you looked female.

[tradge]

Grrr!! I'm male damn it!! 

sorry it's REALLY annoying when people do that lol. Try noting the flat chested-ness and relatively masculine dress sense lol. However it's probably the beret that makes me look feminine =P lol

But what of the video, ignore my appearence you shallow fools!!

[franzliszt2]

oo, two inches. When I get my haircut it I usually cut it to a nice semi-buzz. Then i grow it pretty long and repeat the cycle. I probably get a haircut only 4 times a year.

and yes I couldn't tell if you were female or male. You looked like a male when you were playing but when you looked at the camera you looked female.

Good for you! Can't you say anything semi constructive?

[rachfan]

Hey guys,

I think tradge is looking for comments on his playing of the Liebestraume No. 3.      I have played Nos. 1 and 2, as I prefer lesser known works, but not No. 3 other than to read through it a few times in the past.  So maybe someone who has studied No. 3 would be better at offering him a critique.   

[tradge]

Hey guys,

I think tradge is looking for comments on his playing of the Liebestraume No. 3.      I have played Nos. 1 and 2, as I prefer lesser known works, but not No. 3 other than to read through it a few times in the past.  So maybe someone who has studied No. 3 would be better at offering him a critique.   

Do you have recordings of 1 and/or 2? I'd like to hear them =)

[rachfan]

Hi,

Unfortunately, I didn't record those two Liszt Nocturnes, although I enjoyed learning them.  The last time we moved, I had to pack up my recording equipment, which was an analog system--cassette tape deck, three condenser mics, mixing box, tape dubbing unit, etc.  It's all stored somewhere down in the basement.  But rather than dealing with that stuff, I really need to go digital.  I have a great sound card in my PC and some ok editing software, although not the latest version.  I'd need to read up a little on doing digital recordings, maybe even get a webcam too if I wanted to do videos. 

I just got my 1983 Baldwin L grand back from the shop yesterday.  I customized it with new Ronsen Wursen hammers, Arledge bass strings and Mapes IG Wire treble strings.  It sounds great, although the tuning stability will be a problem for awhile until the new strings fully stretch and settle down.  Then the hammers have to wear in a bit, and the knap has to rub off from the back of the flange knuckles.  In other words, I have to break in the piano again, just like when it was new.  Anyway, maybe then I can do some new recordings.  I did post a ton of recordings on this forum though, most of which are probably way back on pages 10-15. 

I think your Liszt piece sounded quite good, despite the occasional poor sound quality of the recording.  You appear to have good articulation, balance of melody and accompaniment, control of dynamics, a relaxed tone production, fluidity in playing, and the ability to create some really nice nuances.  I also like your phrasing (and phrase endings too). You did a fine job too on handling the technical short cadenzas in this piece.  You might have made the coda a bit too ponderous, although it was clearly deeply felt.  I think you can tighten up the coda a little without detracting from the totality of your interpretation.  You also play without mannerisms, which is a good thing.   

Something to try: If you have an adjustable bench, you might want to experiment by sitting about one to two inches lower, until your arms and thighs are more parallel to the floor.  (Most artists sit low if given the choice.)  The knees should be about 2 inches underneath the piano case.  The advantage to this is that gravity then improves your arm weight and automatically enriches your tone.  (Playing at fast tempos is slightly harder though, so that's the trade-off.)  The higher you sit, the drier and more "gray"  the sound.  Then, if you don't like it, you can always revert back to your current preference.  Just a suggestion.   And finally, it looked like the piano was buttoned up with the lid closed all the way up to the fall board, although it could have been an optical illusion, given the angle.  For recordings, you might want to try opening the lid with the smaller singer stick, if the room is not very ample.  That would further enrich the sound. 

I hope this is helpful.

[tradge]

Hi,

Unfortunately, I didn't record those two Liszt Nocturnes, although I enjoyed learning them.  The last time we moved, I had to pack up my recording equipment, which was an analog system--cassette tape deck, three condenser mics, mixing box, tape dubbing unit, etc.  It's all stored somewhere down in the basement.  But rather than dealing with that stuff, I really need to go digital.  I have a great sound card in my PC and some ok editing software, although not the latest version.  I'd need to read up a little on doing digital recordings, maybe even get a webcam too if I wanted to do videos. 

I just got my 1983 Baldwin L grand back from the shop yesterday.  I customized it with new Ronsen Wursen hammers, Arledge bass strings and Mapes IG Wire treble strings.  It sounds great, although the tuning stability will be a problem for awhile until the new strings fully stretch and settle down.  Then the hammers have to wear in a bit, and the knap has to rub off from the back of the flange knuckles.  In other words, I have to break in the piano again, just like when it was new.  Anyway, maybe then I can do some new recordings.  I did post a ton of recordings on this forum though, most of which are probably way back on pages 10-15. 

I think your Liszt piece sounded quite good, despite the occasional poor sound quality of the recording.  You appear to have good articulation, balance of melody and accompaniment, control of dynamics, a relaxed tone production, fluidity in playing, and the ability to create some really nice nuances.  I also like your phrasing (and phrase endings too). You did a fine job too on handling the technical short cadenzas in this piece.  You might have made the coda a bit too ponderous, although it was clearly deeply felt.  I think you can tighten up the coda a little without detracting from the totality of your interpretation.  You also play without mannerisms, which is a good thing.   

Something to try: If you have an adjustable bench, you might want to experiment by sitting about one to two inches lower, until your arms and thighs are more parallel to the floor.  (Most artists sit low if given the choice.)  The knees should be about 2 inches underneath the piano case.  The advantage to this is that gravity then improves your arm weight and automatically enriches your tone.  (Playing at fast tempos is slightly harder though, so that's the trade-off.)  The higher you sit, the drier and more "gray"  the sound.  Then, if you don't like it, you can always revert back to your current preference.  Just a suggestion.   And finally, it looked like the piano was buttoned up with the lid closed all the way up to the fall board, although it could have been an optical illusion, given the angle.  For recordings, you might want to try opening the lid with the smaller singer stick, if the room is not very ample.  That would further enrich the sound. 

I hope this is helpful.

Great stuff, I shall certainly take what you said into account. I have actually tried different stool positions, I also find that if I sit too low down, I do find it harder to play faster, I am relatively comfortable with the position I sit in at the moment. Unfortunately at home I don't have an adjustable stool, and our piano isn't terribly great, so I often tend to use the piuanos at the place I recorded this liszt, which is the Sage Gateshead  near where I live. The pianostreet member 'evelateme_returns' is from near where I live and we have long piano geekish conversations

[rachfan]

Hi Tradge,

Yes, if you're lower on the bench, speed is more difficult than sitting a bit higher.  You're best off doing what's most comfortable to you.   That's good that you've linked up with elevateme_returns, a very fine pianist.  I'm sure you two get a lot out of the dialogue.  Being a pianist can sometimes feel isolating, as it's often a solitary pursuit.   

[elevateme_returns]

elevateme_returns, a very fine pianist.

woah woah woah

[rachfan]

Elevate_me,

Hey, it's true!  All anyone has to do is listen to your Ravel to figure that out! 

 

[tradge]

Elevate_me,

Hey, it's true!  All anyone has to do is listen to your Ravel to figure that out! 

 

Hear hear!

[lau]

Good for you! Can't you say anything semi constructive?

yes, if that wasn't constructive enough let me continue then.

well, James, it was good overall. It sort of seemed like it was missing something but that could easily come from the crusty recording to the kind of piano. So I got a haircut today and it's really short, like a 1/2 inch long...and so the recording didn't end up to be tradgettly bad or anything but I say a job well done.

[tradge]

yes, if that wasn't constructive enough let me continue then.

well, James, it was good overall. It sort of seemed like it was missing something but that could easily come from the crusty recording to the kind of piano. So I got a haircut today and it's really short, like a 1/2 inch long...and so the recording didn't end up to be tradgettly bad or anything but I say a job well done.

All I can say is this - ??