Chopin Ballade No. 4 in F minor Op. 52

[jlh]

Ok, I've got 2.5 weeks to get this to performance quality...

There are a few spots I screwed up on this recording, and I'm still working on getting the coda fluent.  I would love suggestions!

Sorry for the poor audio quality... wish I had a better mic!!  It has a hard time with dynamics (and so do I sometimes).


https://video.google.com/videoplay?docid=7049104520529822012

[ihatepop]

Thats beautiful!  

ihatepop

[m]

Ok, I've got 2.5 weeks to get this to performance quality...

There are a few spots I screwed up on this recording, and I'm still working on getting the coda fluent.  I would love suggestions!

Sorry for the poor audio quality... wish I had a better mic!!  It has a hard time with dynamics (and so do I sometimes).


https://video.google.com/videoplay?docid=7049104520529822012

Josh,

What a piece, what a life experience, what an ultimate pleasure to touch with your fingers something that great, that sincere ...
What an ultimate pleasure just to divve into this music...

The most difficult part of that piece is the beginning--first three-four pages. I like the way you treat them-- simple, not sentimental, with no those overwhelming annoying RUBATI we all so used to hear this theme from those who "feel the music " . Yes, the whole beauty of this music is actually in its simplicity--the music speaks for itself, no need to embelish anything, just let it speak, and you do it simply and nicely.
 
There is one element though, which I am missing in your performance.... but first, let's look at the whole set of ballades. What is the unifying thing about all of them?

Of course, I am sure everyone will answer right away--3/4--the rhythm of waltz, the rhythm of dance. Indeed, the 4th Ballade is so beautiful that often we tend to forget that in fact, it is only a beautiful, melancholic waltz... (as all other ballades) and for some reason we tend to put into it so much more than that. Really, no need to. Just listen to any other waltz--left hand is the most important thing--accent on one, and then two->three, where the three is the lightest beat (unlike mazurka, where "three" actually goes into "one"). You play it just little too "serious", forgeting that L.H. is a light waltz.

Another suggestion. You start the Ballade as if you already know everything what is going to be there. I like the approach when the music starts from the silence. You take the first octave... listen to it... then next--music starts to get the momentum, and with the next one the music already starts...

What was that chord at 4:58? After that don't make such a big rit.--the music keeps flowing. The part at 5:22... yeah I know everyone starts it with more demanding tone. Why? Try to start it more piano and more relaxed... then the next turn will have much more impact.

5:58--?? Can you give some more? And after that go ahead--don't fall asleep--the music keeps going.


At 8:44 could you go MUCH softer and then keep it for awhile?

At 9:16 can you get back to piano?

At 9:29 the same?

10:04--waaaaay too materialistic to my ears.

At 10:52 the passage up--I guess you have simplified the passage, distributing the middle voice between hands. Be carefull with that--it is much easier to play this way, but there is a danger to "swallow" a middle voice. Listen and follow it.

Best, M

[jlh]

Josh,

What a piece, what a life experience, what an ultimate pleasure to touch with your fingers something that great, that sincere ...
What an ultimate pleasure just to divve into this music...

The most difficult part of that piece is the beginning--first three-four pages. I like the way you treat them-- simple, not sentimental, with no those overwhelming annoying RUBATI we all so used to hear this theme from those who "feel the music " . Yes, the whole beauty of this music is actually in its simplicity--the music speaks for itself, no need to embelish anything, just let it speak, and you do it simply and nicely.

Thanks!
 

There is one element though, which I am missing in your performance....

What was the one element?

What was that chord at 4:58?

I have no idea... I tried analyzing it and maybe it's an F7add6? LOL  I don't know how that happened, but it's not what usually happens when I play that chord.

10:04--waaaaay too materialistic to my ears.

Meaning keep the music flowing and not take a vacation on each chord?

At 10:52 the passage up--I guess you have simplified the passage, distributing the middle voice between hands. Be carefull with that--it is much easier to play this way, but there is a danger to "swallow" a middle voice. Listen and follow it.

Not sure how one could simplify this by redistributing the middle voice... seems it would be more difficult to do that.  No, I'm playing the top 2 voices with the RH and the LH is only playing the diminished 7th bottom voice with fingers 4-2 all the way up.  I should probably try and project the middle voice more.


THANKS so much for your insight!  This is exactly what I wanted!  This is rep for round 2...

BTW how was your "vacation"? 

Josh

[m]

Thanks!
 
What was the one element?

Sorry, I was not clear enough. The element of waltz I was talking later.
In your performance the bass and both chords (second and third beat) seem to carry the same weight contrary to what the waltz suggests.

I have no idea... I tried analyzing it and maybe it's an F7add6? LOL  I don't know how that happened, but it's not what usually happens when I play that chord.

Then it is allright

Meaning keep the music flowing and not take a vacation on each chord?

No. In fact I like 'vacations' there... but much softer and misterious ones .

Not sure how one could simplify this by redistributing the middle voice... seems it would be more difficult to do that.  No, I'm playing the top 2 voices with the RH and the LH is only playing the diminished 7th bottom voice with fingers 4-2 all the way up.  I should probably try and project the middle voice more.

I "re-distribute" the middle voice between hands, so the L.H. plays EbGbEb, then ACA, and so on. It is much easier to "follow" the middle voice this way.

Best, M

[tradge]

That's simply stunning! Gorgeous piece, and played with such poise and elegance! Great job