Sorry I was having problems with my router because my ppp password/username were lost and I had to go through my very poor ISP (centurytel is all we have down here =/) to get them, which was a major hassle, because their data systems were down (contact them if you don't believe me).
1- debussy, quit causing trouble; you can't yell at me for starting arguments and making derogitory remarks in posts where you are doing nothing but.
2- I've been ignoring franz and elevateme to avoid more of these stupid and pointless and time-wasting confrontations for several days now, despite their best efforts to start them up with me in numerous threads (can cite), so I don't want to hear it.
Onto my personal opinions regarding the recording of Scarbo that was posted on here, and I am going to try to be as civil and helpful as possible:
The opening seemed a bit rushed and heavy, which I think strongly detracts from the performance, as this piece is supposed to be mysterious and brooding. You should give the notes time to seep into the conscious of the listeners; you have to remember that this is in essense a tableau, and you should try to represent what is being portrayed through the whole piece; in this case, it is the scene of a dark and shadowy graveyard. I think that a lot of this was lost through most of the performance because this interpretation almost seems to struggle (was it your first time performing this piece?), as if instead of conveying the idea of the music wasn't what you were thinking about, but that you were more worried about hitting all the notes, if you know what I mean. This seems to have lead to a very heavy-struck and pedal-filled performance, which effected the variety in your dynamics. Because of this, the two main climaxes in the piece didn't really seem like climaxes; they just sort of sounded like more of what you've been playing, but faster, particularly in the first one, as you had been rushing slightly through the LH figurations (maybe from nervousness? if it was your first time performing or recording it that would explain why), and then coupled with the fact that you rushed the big zenithic moment, you didn't allow it to register as a high point in the piece, at least in my mind. On this point of denying yourself climax, I think that you may have overused the pedal; if you reserve a heavier pedal for only the more brooding and/or the high points, it will create an overall more interesting and dynamic performance. Your rhythm is also extremely static; because the LH acts primarily as an ostinato throughout most of the piece it almost seems unwilling to exhibit any bravura or rubato at times when it is truly necessary for a "great" performance. The second half of the piece you seem to almost have a reverse effect, whereas in the first part you were playing very fast and loud, but in the second part you seem to be playing very quietly and softly, almost as if the entire passage between the first and second big apexes was leading up to the second, but I think it is too long to utilize in this way; also, because it is such a downplay from how the piece was being played earlier, while being a fairly interesting interpretation on its own, in comparison to what the listener had become accustomed to it suddenly seems withdrawn and almost, in lack of better terms, boring. Again, I don't feel the second climax really conveyed as much emotion it should have, as the lead-up to it was just too loud and its tempo didn't fluctuate from the big finale. Also, a minor note, in that particular instance I think you may try to more highlight the big, crashing chords rather than the basso figures; in this recording, they almost seem synonymous in importance.
To me, the playing sounded nervous, and the interpretation sounded much too straight-forward/notes off the page, as opposed to trying to represent what the music was ABOUT, and it lacked enough variety to keep me so interested as to want to hear it again. Although you are fairly young so a slightly immature interpretation is what should be expected. I think once you play it more and get comfortable with the techniques involved, you'll be able to experiment more effectively with the barrage of interpretive points and eventually you will be performing this piece fairly well; just not quite there yet.
Topic: Curzon+Schubert 960=devastating