Fellowship of Music exam... NEED HELP!!!

[perfect_pitch]

OKAY... I have 3 months to go until my Fellowship exam, and I need all the help I can get, so I'm asking for any advice on fingering, pedalling, whatever. If you know of any good exercises to help with any of the pieces, variations etc... Then I would greatly appreciate it.

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Igor Stravinsky—Trois mouvements de Petrouchka

Petrushka is the second ballet of three that Stravinsky wrote for Serge Diaghilev’s ballet company, the Ballet Russe and was completed in 1911. The ballet recounts the story of a magician (posing as a puppeteer) during Shrovetide festival. He begins mesmerising his audience by way of a melody with his flute causing the three puppets (Petrushka, the Ballerina and the Moor) to dance without the use of strings. At this point, the transcription commences with the Russian dance.

Through the music that the magician plays, he bestows upon them feeling & emotion. Petrushka who is the most aware, is tormented by the magician’s cruelty as well as his hideous appearance. In his cell, Petrushka seeks consolation from the lovely Ballerina. She, however is seduced by the Moor while Petrushka’s increasing jealousy over their love inflames him. The ‘Petrushka chord’ (the super-imposition of the C Major and F# Major chord tonalities) is heard many times in the second movement (Petrushka’s cell) representing the emotions of shock and horror that Petrushka feels.

The Shrovetide fair (third movement) begins with the sound of chords and cross-rhythms conveying a sense of great activity where merchants pedal their goods and troupes of masqueraders and gypsies add to the sense of excitement. During this scene, the puppets have managed to escape from the theatre and Petrushka and the Moor fight to the death. Petrushka is overwhelmed by a blow from the Moor’s sabre and the puppeteer picks up Petrushka’s lifeless wooden body as bystanders look on. The final moment describes how Petrushka’s ghost is seen haunting the puppeteer leaving the audience to ponder whether Petrushka had been truly transformed or was just a puppet.

The piano transcription of the orchestral score for Arthur Rubenstein was completed ten years after its premiere, in the hope of encouraging him to demonstrate his virtuosity through Stravinsky’s piano compositions. ‘Three movements from Petrushka for solo piano’ endeavours to show the performer’s virtuosic abilities with wild and rapid jumps, complex polyrhythms, extremely fast scales, glissandi, and tremolos designed to create an overwhelming vibrant fantasy.

[perfect_pitch]

Johann Sebastian Bach—Partita No. 1 in B flat major, BWV 825

In 1723, Bach arrived in Leipzig to take up the position of Cantor at the Thomaskirche, which carried with it the responsibility for all of the city's musical requirements. It was during his earliest and busiest years there that he embarked on the four volumes of harpsichord and organ music known as the Clavier-Übung (Keyboard Practice), an ambitious undertaking intended to show, once and for all, his mastery of several important genres. Bach published, at his own expense six 'partitas' or suites from 1726 onwards, compiling them in 1731.

By the time of the partitas, diverse influences had combined to form his mature style, where the original rustic dance characteristics had been replaced by a highly stylised & sophisticated approach to composition.

Partita No. 1, was dedicated to Crown Prince Emanuel Ludwig of Anhalt-Cöthen, the infant son of Bach's former employer, Prince Leopold. The Præludium begins with a simple theme based on an ascending scale, while arpeggiated figures characterise the Allemande and the Corrente. The serenely beautiful Sarabande has a melodic embellishment under which the traditional dance rhythm, with its second-beat emphasis, is clearly marked. Finally, the witty Gigue explores hand-crossing where the left hand provides both melody and bass while the right hand fills in the harmony.

[perfect_pitch]

Ludwig van Beethoven—Sonata for Piano in E major, Op. 109

Sonata Op. 109, along with Op. 110 and Op. 111, is one of Beethoven’s last piano sonatas. Written between 1820 and 1822, these late sonatas move radically away from the traditional sonata style, aiming to convey something more private and emotionally introspective in the composer. The three sonatas bear little resemblance to the traditional sonata form of Haydn or Mozart, and convey a maturity or advancement of the sonata form into something more personally intricate more likely to be found in a work of the Romantic period.

The opening movement is brief, nevertheless its brevity demonstrates Beethoven's proficiency over the sonata-allegro form. This is the first time Beethoven uses a different tempo marking for the second subject in a piano sonata. It begins with an arpeggiated diminished seventh chord, marked forte, to contrast the piano dynamic of the first theme, and quickly moves into arpeggiated figures that suggest improvisation.
 
The first movement concludes with the tonic major chord. Before the final chord of the opening movement has fully decayed, the second movement dramatically commences on the parallel minor, blurring the traditional division of the movements.

The third movement  is a theme and variations. Variation movements in early Beethoven sonatas usually kept to the basic pulse and form of the melody, gradually introducing increasingly decorative figuration. In Op. 109 his approach is more innovative and the tempo changes with almost every variation e.g., the first variation disguising the melody, with only small recognisable fragments and the most basic harmonic progression retained. Variation three contrasts the previous variations with a tempo marking of Allegro Vivace, consisting of rapid scalic passages based again on the harmonic progression of the theme. The fifth variation consists of a canonic texture, leading to the final variation – a cantabile variation that presents the original melody in the alto line in crotchets eventually dividing into smaller and smaller rhythmic units, while slowly building a trill like pattern in the other voices resulting in a final harmonic display of virtuosic pianism written in demisemiquavers and an overlapping, constant trill which subsides to reveal the theme in its original form for the last time.

[perfect_pitch]

Johannes Brahms—Variations on a theme by Paganini in a minor, Op. 35

This work ‘Variationen über ein Thema von Paganini’ is a large-scale piano solo comprising two books of fourteen variations each concluding with a coda. The variations are based upon the 24th Caprice for Violin by Niccolo Paganini his most famous work. The 24th caprice has been the inspiration for a number of variation sets, most notably by Liszt, Rachmaninoff & Lutoslawski.

Brahms’ set was a vehicle for the bravura display by the ‘New German’ School and was used to emphasise the exploration of technical virtuosity. During the late nineteenth & early twentieth centuries, it was common practice for performers to make a selection from both books in an arbitrary order to suit their tastes – a practice initiated by Clara Schumann who described the work as the ‘Witchcraft variations’.

Brahms himself referred to it as Studien (Studies) because each variation allows the pianist to explore techniques such as trills at the top of wide-spread chords (book 1, variation 3), polyrhythm (book 1, variations 5 & 12; book 2, variation 7), octave glissandi (book 1, variation 13) and rapid contrary motion (book 1, variations 8 & 11).

[birba]

So far I've only listened to the Brahms-Paganini.  That is some programme you have to prepare.  These variations have to go much faster.  I don't know what the criteria of your university is, but I, personally, think at the moment you are way out of your league here.  You definitely have talent and I heard some beautiful moments (like the 12th and 13th variation from the 2nd book) but I think you lack the technical equipment to make these come across.  Usually, I simply don't comment when I listen to something in the audition room I don't like, but I feel you have to realize that this performance is not up to par.  And I don't think any comments you read here are going to help you in any way.  Why did you choose the Brahms-Paganini?  I'm sure there's a lot of music out there that you could really connect with.  I think that's what bothers me the most about this performance.  You are not connected with it.  I don't feel you feel it.
I hope you aren't offended by what I say, but on the other hand, you posted it here for comments!
I'll be listening to the other music.

[perfect_pitch]

Why did you choose the Brahms-Paganini? 

I didn't choose it - my piano teacher did.

I'm hoping that for now, the beethoven is almost perfect, so I can spend a little more time on the brahms and the stravinsky. I've never done this sort of exam before and she's never put a student through it - so I think she chose them in an effort to impress the examiners for the exam.

[birba]

Beethoven.  Not bad.  Certainly more up to par than the Brahms-Paganini.  The third movement is too slow.  It's Andante, not Adagio.  It has to move. It's very static the way you present it.  In fact, when you get to the 4th variation, which should be a bit slower than the opening theme, you play it at the same tempo.    Here it's more or less 52 to the dotted quarter note.  The theme, to me, should be no less than 60 to the quarter note.  Variation 2 is too staccato.  Leggiermente, yes, but not staccato.
The opening movement should sound more improvised.  Don't emphasize the metric beat so much at the beginning.  Strictly in tempo, yes, but think of them as chord progressions, not individual notes.  Leggiero and dolce.  when you get to the adagio espressivo, play with the tempo a bit and not so slow.  It's in 3, not 6.  And ad lib (in a sense) those rising and falling arpeggios.
This sonata, with op. 31, no. 3, is my favorite.  It's so simple and direct, and, yet, so intricate.  You really follow the dynamic indications perfectly.  It sounds like you're preparing for an exam.  And I know it's not like performing in a concert, but you've got to get away from the written notes, now that you've studied it to perfection.  You could use a bit more pedal in the trill secion of the final pages. 
It's so difficult here to go into detail.  But basically, you've got the conception of this sonata.  And it's very well played.

[perfect_pitch]

But basically, you've got the conception of this sonata.  And it's very well played.

Thanks... With the emotive part of the pieces... I find it hard to do when practicing... however when I walk into the recital I somehow just pull it off - possibly because your mind can only think of the exam in that situation and you only finally focus in that sort of performance situation.

In my edition of the piece however, it does state that the tempo of the fourth variation should be the same as the beginning tempo.

I figured this was much better than the Beethoven - I'm not too worried about this piece... however the Brahms is starting to get to me. You don't have any help about any exercises that could help me with any of the harder variations???

[lostinidlewonder]

There is just way too much music to give detailed analysis, but overall I think you are still in the development stage. The musical ideas need more time for you to digest as parts in the recordings sounded just like notes and routine (especially the Brahms), the musical value has not fully absorbed. Is there a rush to pass your fellowship exams? Why not give yourself some more time to really crack it well as once you pass the exams you never have to do them again! Btw your Stravinsky is coming along quite well.

[birba]

In my edition of the piece however, it does state that the tempo of the fourth variation should be the same as the beginning tempo.

I don't know what edition you are using, but Beethoven specifically states at the beginning of the 4th variation:
"etwas langsamer, als das Thema"  then, to make sure he was understood ALSO in italian, he states in his deutschland italian "un poco meno andante ciò è un poco più adagio come il tema".
ergo: somewhat slower then the theme.  I can't believe your teacher let this slip by.

As for excercises for the Brahms-Paganini, you could write a manual the size of the manhattan telephone book.  Give me a particular variation that's giving you problems.  At this point, I would do rythmic variations and slow practise.  At any rate, you have to speed it up a couple of notches.

[perfect_pitch]

Why not give yourself some more time to really crack it well as once you pass the exams you never have to do them again! Btw your Stravinsky is coming along quite well.

Well - unfortunately the date is drawn up, and the examiners are flying over for the exam (which has already been arranged) as well as bookings etc... and venue and I'm trying to psych myself up for this exam... Plus I've already spent the last year and a bit studying these - I'm at the point where I want to get them over and done with. I can't think of spending another year doing these pieces... as I'm partially sick of them already.

Thanks for the kind words about the Stravinsky. It's HOPEFULLY getting there...

@Birba: I will check that out... All I know is that when I played it slower, my teacher said it didn't have a sense of flowing... so I sped it up a little.

[birba]

@Birba: I will check that out... All I know is that when I played it slower, my teacher said it didn't have a sense of flowing... so I sped it up a little.

But of course!  Because the theme itself is too slow.  try quarter note=60.  It will automatically flow more!  Believe me, you will see!

[perfect_pitch]

AHHH... sorry I meant Variation 4 was too slow and lacked flow.

As for the theme... I know it says Andante molto cantabile ed espressivo, but to me it just doesn't sound right. That's just my opinion though...

Out of curiosity - the variations I'm having trouble with mainly in Brahms are Book I Var 2, Book II Var 7 & 11.

[scottmcc]

I'm sure you've spent at least a little time with the brahms 51 exercises, correct?  I seem to recall that there were a few of those that were direct quotations of moments from the paganini variations. 

good luck with your exam!

[pianist1976]

I'm sure you've spent at least a little time with the brahms 51 exercises, correct?  I seem to recall that there were a few of those that were direct quotations of moments from the paganini variations.

Yes! You're right!

The exercise number 29 is directly related to Var 11, second book, and no. 51 I think that can be useful to train automatisms that can help to first book coda. Number 2 is useful to do thirds on the left hand (difficult task we are not usually prepared to!) such as those in var 1, book 2, and so on. I think that spending some minutes a day to a selection of Brahms exercises is a good investment.

I'm now studying some of the 51 exercises since one moth ago (well, I think is more exact to say that I'm rediscovering them, I started some of them 10 years ago but I stopped, bad done...) and I can say that they are fantastic!

[perfect_pitch]

I do have them at home... so I'll need to dust them off and give them a go. Thanks for the exercise numbers... I can assure you within the next couple of hours I shall be playing them.

Thanks to both of you (and Birba) for your help so far.

[tds]

so I think she chose them in an effort to impress the examiners for the exam.

lol... she could have been right if you had been a super virtuoso and posses tremendous musicianship. and if that's really what she tried to do, she is a dreamer.

[perfect_pitch]

lol... she could have been right if you had been a super virtuoso and posses tremendous musicianship. and if that's really what she tried to do, she is a dreamer.

HEY - Watch it... that's my piano teacher you're talking about. She helped me take my performance from slow_concert_pianists level to what I am today... I may not be brilliant yet - but I'm working my damn arse off to do so.

[slow_concert_pianist]

You are rude again perfect pitch. Do not under estimate or slander me. If you doubt my ability, I challenge you to a live play off. I am not far away. That said I am impressed with your Brahms book one & Birba is "full of it."

My comments are generalisations:

Theme

Plods, lacks finess. Sould be much lighter with emphasis on the decoration

Var 1

Plods.....you have no direction whatsoever

Var 2

Very impressed even with the minor cosmetic errors

Var 3

Rythmically unsound and "off balance"

Var 4

Needs thicker trills. Rythmically seems sound

Var 5

This is one of the hardest to play correctly. You do very well, some problem with the leads.

Var 6

Very good control. I liked it.

Var 7

Poor control, but a convincing performance

Var 8

Very good and difficult to perform. I liked it

Var 9

Horrible. Rushed. No finess and appreciation of the subtle value presented by the cross rythms

Var 10

You don't understand this one. Lack tone - imagine you are playing Schumann.

Var 11

Way way way too slow. This is an andante. Your "quasi adagio" interpretation is ineffective and seems to observe no plan. (this is not to say it would not work "adagio", but rather, you need to consider why you play it like that)

Var 12

Stunning even with slight cosmetic errors. This is a hellishly hard variation and be proud of your performance

Var 13

Generally and, again, a stunning presentation of a difficult score

Var 14

Well what can I say. Commenting on the pre presto, you go slightly off the rails, but the difficult 2 bars you play rather well. It is just as "strained" as my performance though. And no surprise - this is difficulty x 100. I dislike the trills. They are twee and need to be much more confident. Presto is nicely observed by you decelerate half way through presiding a limp (and inacurate) finale. Much work required on this. I think if you do the work your interpretation will be very good going on what I heard


I cannot comment on the other Brahms set as I have not worked on it. The Bach I have never played as with the Stravinski. I do play the Beehoven as with all his sonatas, but will not appraise your interpretation if you continue you obscene attack against me. I have laid down the challenge - one you refuse to accept. Make recordings exactly as I do and we will directly compare performances. I am quietly confident who will shine, but please put it to the test.

[birba]

You are rude again perfect pitch. Do not under estimate or slander me. If you doubt my ability, I challenge you to a live play off. I am not far away. That said I am impressed with your Brahms book one & Birba is "full of it."

Said by one of your "caliber", I take that as a compliment.

[birba]

I just wanted to add a little aside here.  I've seen a lot of big big programmes, here, prepared by teenagers (very competent ones, I might add) and pianists still in school.  I know this programme you are preparing is for a fellowship programme, and must demonstrate a certain level of technical and musical preparation.  But sometimes we go beyond our means.  I remember when I was making the rounds of the competitions, bringing op. 53, Wanderer, Bach chaconne, etc. etc. etc. and generally doing alright but not enough.  A couple of first prizes in ditzy provincial competitions, second rounds, a few finals, etc.   But my most prized achievement was a bronze medal at Geneva -  and here was my programme:
Chopin op. 25, no. 12
Bach first book b-flat major prelude and fugue
Debussy etude pour les sonorités opposés
Beethoven, op. 14. no. 2 (!!!!)
Bartok suite (!!!!!)
Petrassi toccata
A brahms intermezzo
Beethoven 3rd.

There's not one piece here that couldn't have been played by an intermediate conservatory student.  But that wasn't the point.  My teacher insisted on this repertoire.  He said you're going to find powerhouse pianists there who can play circles around you.  You have to choose the repertoire you can render the best.  And that's what I did.
Your programme is very ambitious - and I really have to compliment you for the work you have achieved.  together with your teacher.  and I would never criticize her or him in his work.  At this point you have no choice but to go through with your programme.  And I'm sure it's going to go well.  The observations I made are more for your future endeavours.
The Brahms excercise book is perfect.  Hadn't thought of that. + Slow practise and rythms.
And perform the whole programme lots, in tempo and under tempo, from beginning to end, without stopping.  and if you can get a few people to hear you, all the better!
In bocc'al lupo!  (Italian expression for break a leg!)

[perfect_pitch]

You are rude again perfect pitch. Do not under estimate or slander me. If you doubt my ability, I challenge you to a live play off. I am not far away. That said I am impressed with your Brahms book one & Birba is "full of it."

Actually - Birba seems closer to the truth than you think - My program is probably too hard and the Brahms sadly enough isn't even CLOSE to concert standard - but that sadly enough is what I need for this exam, so unfortunately Birba is not full of anything, unless it's constructive criticism.

HOWEVER... You seem to have a head for constructive criticism when it comes to other people, and I was surprised by some of the comments you made, as they generally come from people who can... (how shall I say this nicely...?) play with a bit more accuracy? So having said that - I shall not dismiss your comments at all.

Var 2

Very impressed even with the minor cosmetic errors

Minor cosmetic errors... Are you kidding me??? I shat all over that variation! (sadly enough)

Although you seem to have a head for constructive criticism - you seem to be too nice with your reviews. In less than 12 weeks, I have to get these pieces to concert standard - and very little in these performances were even close... but for once you've made me see you in a bit of a different light.

Slow_concert_pianist: I hope you will endeavour to continue aiming always for the highest level of pianism, as every pianist should - even I will never stop trying to aim for the highest level of beauty in music. I can't believe I'm going to say it... but,

I will stop criticising your recordings from now on.

Just know that if you ever have to go for the LMus or FMus or anything - you will need to be severely stricter and more aggressive on your self-reviews. Even I can hear the poorness in my recordings. (Even of my Chopin Ballade No. 2).

Anyway, there's no need for a show-off - I'm extremely busy with my pieces and really can't be side-tracked or distracted. I'll let you practice without judgement from me - and I'll just continue practising my bloody brains out until my fingers are raw and bloody and my exam is over.

[pianisten1989]

Since I've played the parita, I write about that one.

Prelude: Way to slow, and an accent on every beat. Even though it's the only piece which isn't a dance, it doesn't mean you shouldn't play it as one.
If you play it a bit faster, the lines wont disappear (as they do right now)

Allemande: Quite sloppy. Go back to one hand each, and metronome. Start with that, then post it again.

Courante: It's kind of the same as the allemande. But here you can youse the left hand to make it sound more like a dance. And I'd play it faster.

Sarabande: It's the beautiful piece of the suite. Play it with some different colours and a bit more pedal and rubato.

Menuets: These are the weakest, you have to work a lot with them. Now you kind of banging all the notes, and the lines isn't very beautiful. They are two contrasting pieces, don't play them exactly the same way.

Gigue: I know it's bach, and many ppl say "Very deep" things like: There is no way you should use pedal in Bach.
But seriously, they are wrong. Use some pedal, it wont kill you.

The biggest thing is, for you, to make the pieces more different from each other. Use different tones, articulation, pedal...

[birba]

I really think you did a good job with the partita.  I especially liked your sense of melodic direction.  The lines went somewhere and weren't static and plain finger work.
The prelude has to go a bit faster.  Think of it as a slow 2, rather then a moderate 4.  Try half-note = 54.  You'll find the phrasing much easier to develop.  For example those three little "hills" at the beginning, one a bit higher then the last.  When it returns in the left hand, lighten up the right.  Do this every time it comes around.  I probably sound like an old fogey, but picture something in your mind as you're playing these, using a very legato touch.  Dinu Lipatti has a marvelous recording of this partita.
In the allemande we have, again, this three "hill" progression. Play each one with a bigger crescendo then the last.  It doesn't have to be exaggerated.  Just be aware of this reoccuring phrase.   I would play it just a bit slower and make the rythmic impulse heard from the very beginning.  For a moment, if I hadn't known the music, I wasn't sure if it was binary or ternary.  I liked the way you played measures 9-12.  It's the hill progression in reverse!  The next to last measure, very legato.
I'll leave you to find those hill progressions in the courante.  They're there.  (e.g. end of part 1) Make them heard.  I would use a more legato touch.  But that's just my preference.  The tempo is good.  Maybe a BIT  slower.  But, this again, is my feeling.
I don't hear that f in the first chord of the sarabande!  You play this very well, though.  But you really have to use a more legato cantabile touch.
tempo is good in the minuet.  But pianisten is right about the touch.  It sounds sort of banged out and it loses that lilting swaying quality to it. If you find that right touch, you can add a descreet and enhancing use of the pedal.  I do not like that staccato touch in the second minuet!  I don't get it, because then you all of a sudden go pedal and legato in the last few measures.  I feel this minuet in a very calm, legato, static mood that goes nowhere.  It contrasts with that lilting swaying mood of the first minuet.
Experiment with a little pedal following the left hand in the gigue.  I call it a butterfly pedal.  Very fast and almost vibrating.  The tempo is right.  The right hand accompaniment has to be more leggero.  Don't lift your fingers from the keyboard.  It's a very small articulation that should hardly be visible to the eye. 
All in all, though, I thought you did a good job.

[pianist1976]

My program is probably too hard and the Brahms sadly enough isn't even CLOSE to concert standard

Please, don't be so hard to yourself!  

This Brahms-Paganini is a top piece into the top difficult pieces of all times but your version doesn't sound bad at all. Alright, it needs work and improvements but I'd like to take the positive side of the subject. It sounds good and I think you have a good starting point. I think you need to continue working the lyrical side of the work, the dynamics, phrasing and legato, they may help the technical one (sorry but you asked for advices: some places sounds good but a bit dry and mechanic sometimes, and I'm sure you are able to improve it). Don't think you are playing one of the most difficult pieces ever written, just think on playing Brahm's imaginative and wonderful music. And in the technical side, I think that some Pichna exercises coul'd help you to improve your skills in ultra uncomfortable places such as Book 1, Var 2 (Oh my...!) and, of course, the Brahms exercises such as the above mentioned. When your practice places such as that, please, the wrist as much relaxed and possible. In this kind of repertorie I like it, as a starting point, in a mid-low position that prevents initial tension (just my personal preference and my teacher's advice).

I'd like to give your more concrete advices but although I know the piece and I have worked some passage, I actually don't play it. Maybe in the future.

And forget that Slow Concert. He's only a poor man

[birba]

There's a little trick in variation 2.  Think of the last 16th sixth as the pick-up to the following measure.  Practise making a full stop on the next to last 16th sixth,  then start on the pick-up to the following measure.  Study it like that a few days and then see if it works better when you play it straight through.

[perfect_pitch]

There's a little trick in variation 2.  Think of the last 16th sixth as the pick-up to the following measure.  Practise making a full stop on the next to last 16th sixth,  then start on the pick-up to the following measure.  Study it like that a few days and then see if it works better when you play it straight through.

That sounds interesting... I'm practicing Book 1 today, so I will definitely put it to use. Thanks Birba...

and to Pianisten1976 for the help...

[perfect_pitch]

OKAY... HERE GOES. I know that my run-through back in July was quite abominable especially in the Stravinsky and the Brahms, so today I thought I would go back and record them again.

I have to play at my recital in just over 3 weeks, and I need any help that people are willing to give. I know some of you probably think that the pieces are too hard... and you'd be right - HOWEVER, since I have to perform these anyway, I may as well just continue to practice and give it my best. Any advice you can give, no matter how small on the pieces would be great, and hopefully in the next couple of days - I can upload the video for them so people can critique me on my body movement (Just to make sure I'm not doing anything weird.)

First one:

Bach's Partita No. 1 in B flat

[perfect_pitch]

Stravinsky - Trois Mouvements de Petrouchka

[perfect_pitch]

Beethoven - Sonata in E, Op 109

[perfect_pitch]

Brahms - Variations on a theme by Paganini, Op 35

[prongated]

Beethoven - Sonata in E, Op 109

It's...much better than the last time I heard it...it's just that...to be honest, the way you play it is really different to the way I would - mainly tempo - so I will avoid commenting on matters that are obviously already thought out.

In the 1st movt. you need to really take care of the dynamic markings. Beethoven is very specific here. In bars 11-12 he indicated cresc---piano. You didn't drop down to piano. In the section leading up to the recap you're still not doing the sFps. Only the sF chords are loud, the rest soft. In fact, that whole section can be a lot more exciting. At the start, make sure that after the cresc. you drop down to piano. The build-up really needs to be big - up until that sFps there's a very intense harmonic sequence.

Just one thing in the 2nd movt., albeit one thing that I think I've mentioned in the past too. Many of those undotted crotchet chords are generally way too short - you're playing them as if they're staccato. The last 3 chords are written that way, but not the rest of them! You need to play them as though there's no rest after those crotchet chords - all you need to do different is to release them sooner. You also cut the last chord in the bar before the second A tempo very short by the way, and that one is supposed to last until the end of the bar!

The 3rd movt...you do know that cresc.---p in Beethoven means subito piano right? It's not coming out that way in the theme. The transition between vars 2 and 3 sounded funny to me - I think the end of variation 2 needs to resolve, so don't anticipate what's coming up! Variation 3 I cannot discern the difference in dynamics between p and f - is it the mic perhaps?

I don't think the end of variation 4 (in both repeats) is meant to be cut so short like that - it sounds dopey don't you think?! Leave the pedal for a little bit after you take your hands off the keys. I can use more drama in the 2nd half here. And do you know that the sFs here are meant to be on the chord, not the top note? It's only for spacing reason in the manuscript that it came out sort of like that. Either way, I could use more of them sFs.

And in the last variation, just make sure there are no breaks in that climactic passage.

My 2 cents good work, and good luck

[pianowolfi]

Regarding op.109: I haven't anything to add to prongated's excellent comments, I am mainly posting in to encourage you. I don't think that these pieces are too difficult for you. They are difficult per se.

When I hear somebody play a Sonata like this I ask myself: "What can he/she "tell" me about this sonata?" That's what is of interest to me. And you are definitely "telling" me a lot of things, for instance your rather nonlegato, a bit dry approach to the second mvt is really interesting to me, and convincing, though I play this mvt. differently.
The nearer an exam or concert comes the more I use to think that I can't really play my pieces  
It's a rather mean effect and many other musicians experience it too, as they told me.
So it would be recommendable to calm a bit down and remind yourself of your overall concept of the pieces you will play. You will anyway practice enough, for sure.

[perfect_pitch]

In bars 11-12 he indicated cresc---piano. You didn't drop down to piano.

Yeah, but since I'm playing this in an auditorium, you need to project your piano dynamics to the audience. I did used to play it a proper piano, but my teacher said that they would barely be heard by the audience or the examiners who will be sitting up at the back of the room.

Variation 3 - that's not the mic, that's my fault. I know, I know...

And do you know that the sFs here are meant to be on the chord, not the top note? It's only for spacing reason in the manuscript that it came out sort of like that.

Are you SURE??? I've never heard any recordings emphasis the chord instead of the top note???

The nearer an exam or concert comes the more I use to think that I can't really play my pieces  
It's a rather mean effect and many other musicians experience it too, as they told me.
So it would be recommendable to calm a bit down and remind yourself of your overall concept of the pieces you will play. You will anyway practice enough, for sure.

The amount of practice I'm not worried about - the calm part though - bit harder. I'm trying my best - but I also work 20 hours a week which makes things a little more hectic.    

[prongated]

Yeah, but since I'm playing this in an auditorium, you need to project your piano dynamics to the audience. I did used to play it a proper piano, but my teacher said that they would barely be heard by the audience or the examiners who will be sitting up at the back of the room.

So be smart about it project the top voice, and maybe also a bit of the bass, but make the rest of the harmony soft. Creates a nice change in colour too, between f and p, and gives you the tool to change the character - between an outpour and the sensitive

Are you SURE??? I've never heard any recordings emphasis the chord instead of the top note???

Yep. But don't worry about it...consider it out of interest ^^

The amount of practice I'm not worried about - the calm part though - bit harder. I'm trying my best - but I also work 20 hours a week which makes things a little more hectic.   

Wow...

[perfect_pitch]

Thanks for the advice Prongated and Pianowolfi... I hope to have the video up soon. Hopefully I'm not doing anything physically stupid.

[prongated]

...dude, I hope you can get time off work in the lead-up to the recital...I'd wager you should like peace and quiet then...and hey btw...I guess I wasn't explicit enough...but you're doing really well, so keep at it! One must already congratulate your achievement in putting together this fiendish, incredibly insanely massive program - one I'd personally never even dream of doing, for lack of competence!

...and have fun to paraphrase what Fleisher always says: "you climb Mount Everest, you return triumphantly, and yet cars go by...life goes on..."

[perfect_pitch]

Here are the videos of the performances... Wasn't easy uploading 2.5Gb's to YouTube. Plus... it's killed all the bloody quality of the videos. Had it looking like DVD quality and YouTube's compressed it to hell.

In order of the Performance:

Bach - Partita No. 1 in B flat

Part 1:

Part 2:

Stravinsky - Trois Mouvements de Petrushka

Part 1:

Part 2:

Beethoven - Piano Sonata in E, Op 109

Part 1:

Part 2:

Brahms - Variations on a theme by Paganini, Op 35

Part 1:

Part 2:

[scottmcc]

i'm late for work so I only had time to watch the first 20 seconds of each video...but in that time i was quite impressed.  you're sounding much better, and you've risen to the challenge of this epically difficult music.  if all goes well I'll have a chance to watch these in full tonight so that I can comment more intelligently.

[perfect_pitch]

Thanks man - whatever help you could give would be seriously appreciated.

[zorne]

You're doing really well, but I'd strongly recommend that you listen to a virtuoso playing it on YouTube and play along with him/her. Believe me, it'll really help you train.

Good luck for the exam.

Cheers,
Alexei

[zorne]

You're doing really well, but I'd strongly recommend that you listen to a virtuoso playing it on YouTube and play along with him/her. Believe me, it'll really help you train.

Good luck for the exam.

Cheers,
Alexei

[pianowolfi]

You're doing really well, but I'd strongly recommend that you listen to a virtuoso playing it on YouTube and play along with him/her. Believe me, it'll really help you train.

Good luck for the exam.

Cheers,
Alexei

No offense but I don't think that's a very good advice for somebody who is playing at the level of perfect_pitch. He is perfectly able to develop his own concepts and interpretation. Of course we can learn a lot from the masters but playing along would just lead to copying them, perhaps even without understanding them.

[birba]

Yes, I think we should ignore that previous post.   

[perfect_pitch]

You're doing really well, but I'd strongly recommend that you listen to a virtuoso playing it on YouTube and play along with him/her. Believe me, it'll really help you train.

Thanks for trying though... I do listen to an example on YouTube, but that's usually simply to listen to it to see if I've missed any accidentals or ties in the music.

And I did watch a number of professionals in the beginning to try and feel which tempo was right, dynamics etc... but that was simply also to get the music stuck in my head so I know how it should sound in regards to notes.

It is useful in the very beginning - but towards the end, really does bugger all. And of course - as pianowolfi said - you do NOT want a recital where someone is trying to copy a previous recording.

[birba]

OKAY... HERE GOES. I know that my run-through back in July was quite abominable especially in the Stravinsky and the Brahms, so today I thought I would go back and record them again.

I have to play at my recital in just over 3 weeks, and I need any help that people are willing to give. I know some of you probably think that the pieces are too hard... and you'd be right - HOWEVER, since I have to perform these anyway, I may as well just continue to practice and give it my best. Any advice you can give, no matter how small on the pieces would be great, and hopefully in the next couple of days - I can upload the video for them so people can critique me on my body movement (Just to make sure I'm not doing anything weird.)

First one:

Bach's Partita No. 1 in B flat

A very fine job, indeed.  Much much better then your first recording.  You even carried off your slow interpretation of the prelude and convinced me.  There were things that I didn't agree with but you played with conviction, and this is what's important.
What edition are you using?  The ending of the prelude sounded sort of strange with all those chords.
Just one item didn't convince me at all.  Your ritard at the end of the gigue.  But other then that, it was excellent playing.

[perfect_pitch]

Henle Verlag Edition...

Teacher believes that it's a good Urtext edition to study off. Plus - most of the time they give you fingering which (usually) agrees with me.

Glad you like the Prelude - that's one that's hardest to master, and I start the recital off with it. Out of curiousity, what didn't you agree with? I only ask because Baroque music is something I've never really been good at.

I like the ritard only because it does end the first piece (the partita), although I could make it a smaller ritardando - I'll play about with it.

[prongated]

Are you SURE??? I've never heard any recordings emphasis the chord instead of the top note???

I was sight-reading this piece from the Schnabel edition, and voila! He wrote quite a bit about this spot!

Basically on the manuscript it's written as the way you played it. But in the first edition it's written on the off-beat notes. Schnabel went with the first edition because he thought it's in the spirit of the composer/composition, and at the same time noted that either way is probably ok. I've heard teachers go one further and suggest that there simply wasn't enough space for Beethoven to write in the sFs where he wanted them to be in the manuscript.

Just out of interest =) and I did listen to your B-flat partita - sounds wonderful!

[birba]

Really good work.  Much better then the first time.  I, too, play that second movement a bit more legato and with a bit more pedal.  But, like pianowolfi said, it's convincing your way, too. 
First movement was wonderful.  I liked it very much.
I still feel the the opening theme in the last movement is too slow.  You get close to the right tempo already in the second variation.  And the third is the correct tempo, I think.  The acciacaturas in the 1st variation should be played before the beat.  The trills in the second variation, begin on the "nota superiore".  Watch the "voicing" in variation no. 4.  It gets confusing sometimes.
I  just went to the piano to see exactly the tempi for these variations.  You're right, in effect, that the tempi are not the same for the theme and first two variations.  I play the theme at quarter note=56, var. I = 60, var. II 63.  then, when you come to var. IV, 50, somewhat slower then the beginning, as Beethoven indicates.  Try it.
As far as the ritardando in the gigue of the partita goes,I had to laugh when you justified it by saying it's the end of the partita and want to emphasize it.  I could answer, on the other hand, that it's the end and you should finish it brilliantly!  But that isn't the question here.  It's whether it's MEANT to be ritarded ( ) and I don't think it's in the character of the music.
Record the concert!!!

[perfect_pitch]

The acciacaturas in the 1st variation should be played before the beat. 

Mmm... Piano teacher said to play them 'on' the beat. Can't argue with her since she helped me pass my Licentiate. I trust her judgement though - to me, she's probably the best piano teachers in Western Australia, and I've met a number of piano teachers who teach at the tertiary level.

As far as the ritardando in the gigue of the partita goes,I had to laugh when you justified it by saying it's the end of the partita and want to emphasize it.  I could answer, on the other hand, that it's the end and you should finish it brilliantly! 

Okay - I will give it a go.

Record the concert!!!

Can't... They won't let me record the actual exam, however I will be able to record the practice sessions at the Auditorium.