Have you ever considered finding another forum to infest? If you are unhappy with your treatment here, the simple solution would be to leave.Perhaps there is one where everyone loves award winning product.Thal
If you don't like us, bog off.Thal
Habit have you a putting in words of order wrong.Difficult it makes this understand to point the you make trying.Proof nothing you have.Award machine winning down closing.Halt
But they were impudent enough to argue more.
Nice attempt, but not that funny, you are trying to be.But if you like we can go on in german if you prefer a more fluent language from my side...I am not sure that this might explain anything of the whole bunch of things posted here from others.But for a clown, it's OK maybe. Go and try to catch your amusement if thats all for you...
...so I heard what you have to offer in your website, and these are what I think of 1 of the performances in your site of the pieces that I know back to front - that is to say, extremely well. Let's see if it's more to your liking.
Huh now he becomes definitly megalomaniac.What great unfailable "proffesional" knowledge did you want to teach me.- not to read the score and to be disproofed over and over again?
- to take suspicion as arguments ?
- speak english without to determine if there is just one or the whole World of lostinidlewonders is speaking?
- produce midifiles like those three you posted in this audition room
- becoming coloquial for lack of serious arguments
Yes you are unable to read a score accurately and that has been pointed out to you.
Yes I am very suspicious about who you claim to be. I would bet $50 that YOU ARE NOT the person from the website and just some random person wanting to annoy us All arguments would have stopped if you didn't say, those pros know nothing my recordings demonstrate the real intention of the composers.
Does anyone on earth know what you are trying to say here? Please stop pretending you can't write English properly.
The difference between my midi and yours is that MY midi are recorded by REAL hands on REAL keys (bar the Sorabji),
Fahl, plz, you don't even listen to what any of us has to say. why don't you just quit?
...so I heard what you have to offer in your website, and these are what I think of 1 of the performances in your site of the pieces that I know back to front - that is to say, extremely well. Let's see if it's more to your liking.Bach - P&F bk II no. 18 in G# minorPrelude:What's going on with the turns on bars 18 and 19? It's the same thing, but you played it different every time! Top note of the turn on bar 18 is to E natural, not E sharp, and bottom note of the turn on bar 19 is C double-sharp, not C sharp.
Fine starting tempo, although I personally preferred it slower for a somewhat different atmosphere. I just wished you kept it going after that bright start - for example, why slow down at the end of bar 4?
More importantly, make sure the rest of the piece is at the same tempo as the starting tempo! Yours just keep getting slower and slower as the piece progresses - very slowly but surely so.
Think again about the balance between LH and RH. LH accompaniment I can barely hear. Do you really want it to be that soft?
Also, most of your slurred notes are not right. You accented the end of the slurs, instead of making it lighter.
Overall, the piece feels rather unrefined because some passageworks are not secure. For example, the passagework towards the end of bar 20 is rather messy and uneven. Just needs more practise I think. And did you intentionally program rubatos here and there, or is that just insecure passagework (e.g. bars 37-39)? Either way, it contributes further to this feeling of insecurity and unrefinement.
After all the above are addressed, there needs to be a dynamic plan. Your dynamic is very level throughout. Use the harmonic progressions/tensions as a guide. For example, bars 8-11 should have a decrescendo because it is a chromatically descending passage, whereas bars 11-15 should have a crescendo because the circle of 5ths harmonic progression is creating tension.
Fugue:NO RUBATOS! OMG! They sound SO pedantic, and they RUIN the flow of the fugue!
Addressing the original question then (whether or not it will satisfy the musical demands); well, let's not address it. Both Prelude & Fugue here needs practising and thinking - more the case of practising in the Prelude and the case of thinking in the Fugue.
Oh gawd, not this thing again.I do hope the mods delete this garbage thread.Thal
you were hoping to get people to side with your recordings... and they didn't,
so don't even try to give us that "quit yourself if you don't have anything substantial to contribute"...
I am asking very kindly for some moderator to lock this bloody thread. Fahl5... so far you haven't contributed anything decent to your own thread, nor have you contributed to any other threads... so how about you take your biased views and your inability to take criticism and bugger off!!!
Oh you must not judge this thread just by the posting you contributed. But you are wellcome if you ever like to answer more substancial.
I was intrigued with this thread and what fahl5 is trying to convince the world.
If you actually recorded all those works, you certainly have a basic talent at the keyboard.
I only listened to a prelude and fughe from the second book and Waldesrauschen. I could have sworn I was listening to a piano roll.
Precise, good finger work, but absolutely mechanical.
I don't understand the advantage of playing on a super technical digital piano, anyway. I, myself, couldn't hear the difference between the bosendorfer sound and the Steinway D. But I probably don't have that refined an ear.
At any rate, you've made your point, but we could go on bickering about this ad nauseum. I, myself, am not very impressed.
Sorry, but dont overestimate the significance of this "pianostreet" or the few guys, who feel responsible to spam this thread with respectless and uninformed prejudices. "The World" is even when it comes to the musical world, quite a bit more and I have no need to convince anyone of this tiny comunity with anything.
Pianosamplelibrarieproducer
Is this word more elegantly expressed in German (I hope)?Walter Ramsey
If we are tiny, respectless and uninformed, why grace us with your presence?
If you have no need to convince, why continue to try?
If you don't like it here, you know where the door is.
Award winning programme does not have quit button.
Hi, sorry for answering so late, but sometimes there is just more important work to do and I didn’t want to answersuperficially.http://sf-media.12hp.de/images/Bar17-20.jpgThis is the “Urtext” perhaps you should check your Edition
That's true I slowed down there since the piano Bar 3 and forte in the score indicates something like a dualistic situation, one can't mark just by the use of different keyvelocities of the modern grandpiano. For Bach it would be probable, that he suggested to use a different register of the Cembalo when he wrotes dynamics like this (which is quite seldom the case as you probably know). We cant do that registerchange on a grandpiano. So I decided to underline the difference with means of agogic.
Yes, I like it since the left hand is in this prelude (quite unlikly for Bach) really nothing else but just harmonic accompagnement, with out nearly any thematical substance.
I have checked it and found it true for three “slurs” (If I understand right what you mean. But that means I found it not true for all others which are by far “the most”.
1) 8-11 is not apt to a linear decrescendo, since it is a sequenced twobarphrase, I decided to let the dynamics also follow the phrase. But the second one is in fact more piano than the first. 2) I also disagree your Idea, Bar 11-15 should perform a linear crescendo since this would mean a crescendo which would be interrupted since the passage ends in bar 15. So I think it would be more reasonable to give bar 14-15 even a bit decrescendo.
Sorry, I really cant hear any “pedantic rubato” at all. Could you help me with any certain bar, which make obvious what you are talking about?
Let me thank you once more for your most precise, reasonable and musical understanding critics. Take the question in the right way. I don’t pretend any wonder or miracle, but I just like to show that it might be possible to make musical reasonable use of modern technical means. Musical reasonable does not mean that all I hve done with it would be above all discussion, but I know what I have done deserves at least the respect to argue reasonable, as everybody else here around expects for his own musical contributions. Your critics seem to me one of the most reasonable[.] nothing more but also nothing less is what I expect from people who post in this thread. Is this such a monsterous expectation?BestSteffen
your english is really very good, considering it's not your mother tongue. just one thing that you always say: to prove, proved, proved the noun is proof
This is the thing!You said you'd listen if we'd tell you out oppinion. Now we did, and you really don't listen to anything. All you say is (more or less) "You are idiots who doesn't understand my musical genius". And don't say you don't, cause we all know you do.
Just... Why do you bother to keep trying? Obviously we don't really like your music, and we've explained why, and all you do is calling us idiots. Can't you just find an other forum who are more into those midi-things of yours, than we are?
And you always complain about this forum anyways.Have you even looked at any other thread than this one?
I use a Hungarian edition, Japanese edition (Zen-On), as well as the Henle, which is by no means authoritative, although it claims to be. Nonetheless, whether it is from IMSLP or any of the scores I mentioned, those turns are exactly as I mentioned - top note of the turn on bar 18 is to E natural, not E sharp, and bottom note of the turn on bar 19 is C double-sharp, not C sharp!
Just to be sure, the phrases that I talked about have 3 notes. The last 2 notes are slurred. And I'm saying that you tend to accent the last slurred note (i.e. 3rd note in the phrase), instead of the first slurred note (i.e. 2nd note in the phrase).
1) Your idea sounds good. To be sure, of course I don't necessarily imply that the decrescendo should be linear, although that is how I personally executed it.2) Sure, but I wouldn't decrescendo until I reach the cadence (b-flat major). Before that, the circle of 5ths progression really builds up quite a lot of tension.
I may have overreacted before - or maybe your rubato is that much - but for me, one of the great things about this fugue is the unending, continuous flowing voices/phrases. I'd aim to convey this through beautiful sound and careful dynamic planning. Any rubato will only disturb this beautiful stream of voices.
To be fair, there is probably some misunderstanding, inciting emotion and ego/pride. And then it becomes a vicious cycle...as a result, the thread developed into constant ad hominem attacks. So...usually it's best to just...chill...
And remember that there are members here that commend what you have done (myself included), and a few that think it absolutely worthwhile.
I try to read your post, I really do, but all I see is: "I'm a tool, I'm annoying, I'M BETTER THAN GOOD!!!, Plz use me, Why don't you like me?" I just don't understand why. And i hear some wierd noise everytime you write something. Is that just me? =/
Hee hee, German is full of such words, actually.
Okey, last time. I think your recordings are crap. There are no musical ideas, no tone quality, and no imagination what-so-ever.And that's not it. Even though almost everyone in this thread says the same thing, you still doesn't listen to any of it.You are an arrogant, bragging, self-centerd idiot with God-complex.That's what I think. Happy?
ROUND 1 FIGHT!!!!
Award winning programme is very persistent, but award winning programme is now very tiresome.Suggest award winning programme bugger off and spam another site where award winning programme might be better received.Thal
99% of your posts have been in this thread that you created yourself in order to promote your own work. When you start to enlighten us with your knoweldge in other parts of the forum, i will accept that you are not a spammer.
I have met some obnoxious newbies on here, but you exceed the lot of them.You have spammed this forum with your horseshit realisations and you have had your "serious" discussions, but you do not appear to have properly taken on board some of the criticisms.
Instead, you try to belittle the knowledge of some posters here, just because they don't tell you how fantastic your work is.
Now, why don't you spend some time with some of the thousands of people who have visited your site and the companies who make use of your "recordings". It is obviously so popular, I do not know how you manage to answer all of the congratulations e mails you must receive.There are many other music forums who may not have heard of Award Winning Programme, so you might want to start plastering your link all over them.Good luck.Thal
I have allready reported your last respectless postings to the moderators and will go on if you will not stopp spamming this thread in this destructiv and unobjective way.
How pathethic, you are like a child who has run to his mummy. Report as much as you want to, it is you who is the quack with the cheap bag of tricks, and it is you who is the spammer.
I don't see why you are asking me for proof. Proof of what?
I am not the only one who has criticised your cheap realisations and the proof is clearly in the listening.
There is no more proof required than that, so stop acting like a spoiled child and spend more time improving your work instead of pathetic attempts to defend it here.REPORT THAT
New website with complete Bach WTP II, Haydn Sonatas, Liszt Studies etc. (Read 10060 times)
