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

[birba]

Brahms-Paganini.  I suppose for an exam these might pass.  They're probably one of the most difficult pieces in the whole piano repertory, and I have to congratulate you on your work.  I, personally, would never attempt to play these in pubblic.  There are just too many power-house russians and koreans who can whip through them in a breeze.
There were some beautiful moments (Book I, 11 and 13 - Book II 3-6) but the technical difficulties held you back.  Even when there weren't any, strangely enough.  As we came to that marvelous 12th variation in the second book, I thought "Well, here, he's going to blossom and really play some fine music."  But nothing.  It was dry and academic.  I really think you're "trying" too hard.  I know it's easy to say "let yourself go", much easier said then done, but you have to throw those worries to the wind and just think about the music.  Even those power house pianists who can breeze through them often leave you with "fine. but what are you playing?!"  They can be very boring even in the hands of the most virtuoso of pianists.  I think Michelangeli's recording is the ultimate.
Your memory's secure, you have a great facility in those fingers, and a very fine musical feeling.  So just rely on these assets and "let yourself go"!
(Just a little thing irks me in the 3rd variation of Book I.  Don't stop at the beginning of each trill in the right hand.  It gives the variation a wierd movement.  Play them like you do in the left hand trills.)

[birba]

I take back what I said about those "acicaccaturas"in Beethoven!  First of all, they aren't acciaccaturas.  They're 32nd note appoggiaturas.  They are on the beat, albeit, a bit faster then you sometimes play them.  Sorry about that.  Your teacher is right, of course.  I think it might have been the slower tempo you play at that confused me.

[perfect_pitch]

(Just a little thing irks me in the 3rd variation of Book I.  Don't stop at the beginning of each trill in the right hand.  It gives the variation a wierd movement.  Play them like you do in the left hand trills.)

You mean the 4th movement of Book 1?

[birba]

Yes, var. IV from book I.  You sort of stop on the beginning of the chord and then trill, because it's an awkward stretch of the hand. 
But, honestly, don't get hung up on these little details.  Accentuate the romantic broad phrasing.  Bring out the long phrases that can cover more than one measure.  For example, here, we have a phrase made up of two measures.  You stop at the beginning of each trill and it sounds like 4 marching steps.  Technically, here, I would say to stretch for those octaves and play them in a flash and return your hand to a relaxed ball position as you play the trills.
At any rate, look at the musical stamp on each variation.  And how they differ so much from each other.

[perfect_pitch]

LADIES AND GENTLEMEN...

I present to you the last recordings I shall post on these pieces. Today is my exam day, and I would like to say thank you to everyone who commented and helped me with my pieces.

Since they won't let me record the actual exam, I present these recordings which were recorded last night on a Fazioli F278 piano in Western Australia.

Although the audio quality may suck (96kbps), it's the best I could do without having multiple posts per piece (that 20Mb limit sucks)  

Bach - Partita No. 1 in B flat, BWV 825

[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

[birba]

You have a Fazioli in western Australia?!  Even in Italy they're few and far between.  Considered the Ferrari of pianofortes, it's still a family business and every piano is constructed with loving care.  Can't wait to hear these recordings!

[lostinidlewonder]

Good luck perfect pitch. You should sneak in a recorder in your pocket. I think the reason why they do not allow you to record is so you cannot show others your recording and show their commentary. I think it is pretty evasive and covering their asses, a totally ridiculous rule.

Yes we have Fazioli's here, there is even one for sale in Claremont Zenith Music (dunno if its still there haven't been there for a year) but I play it all the time when I visited even with the do not touch signs on it, they never stop me, they know I have bought grands from them before so they tend to keep quiet lol.

[birba]

LADIES AND GENTLEMEN...

I present to you the last recordings I shall post on these pieces. Today is my exam day, and I would like to say thank you to everyone who commented and helped me with my pieces.

Since they won't let me record the actual exam, I present these recordings which were recorded last night on a Fazioli F278 piano in Western Australia.

Although the audio quality may suck (96kbps), it's the best I could do without having multiple posts per piece (that 20Mb limit sucks)  

What lovely Bach!  So refined and very much in style.  The end of the Courante I've never heard piano like that before.  Very effective.  Bravo - (or brava)  And the beautiful sound of the Fazioli really helped, too!

[perfect_pitch]

You have a Fazioli in western Australia?! 

My Piano teacher owns one, plus the University I played at has a 9ft 2inch Fazioli...

[prongated]

Hope you had tons of fun in that recital! Who adjudicated you, out of curiosity? And don't forget to tell us how you went

[scottmcc]

yeah, how did it go?  I'm certainly pulling for you!

[perfect_pitch]

I wish I could say the result was good news... but unfortunately it wasn't.

I didn't pass the exam. The Brahms and the Stravinsky just weren't good technically and they adjudicators said that the music lacked musicality and finesse - which I suppose is only half right in my opinion.

Oh well...   

[tds]

also, those pieces are still new for you. i believe you could have passed alright had you played a different program, i e less technically difficult and a mixture of old and newer repertoire. we know u have worked very hard. in a long term the result isn't as important as the process anyway. keep learning and moving ahead. warmest, teguh

[scottmcc]

aww, sad!

will you be able to sit for it again in the future?

don't beat yourself up too much about it though.  obviously the standards are exceptionally high, and even to get as far as you did shows impressive musical acumen. 

please accept my continued well wishes!

[perfect_pitch]

Thanks... as TDS suggested, I do intend to sit the exam again, but with slightly easier pieces.

This time I think I'll choose them instead of my teacher. I mean - Stravinsky's Petrushka AND Brahms Paganini Variations??? What the hell was she thinking?

Anyway, I've never let anything get me down and that ain't going to change.

Thanks to all those who supported me. I hope to be able to continue posting recordings of my work in the months/years to come.

[lostinidlewonder]

The Fellowship is the most prestigious award that the AMEB can give out. Anyone who is upset that they didn't achieve it shouldn't be so because you have proven yourself already to get to the point to be able to apply for the Fellowship. This final exam is much more serious than the LmusA, you should not be worried investing a good 2-3 years before sitting for the next one. Of course it depends on how itchy you get, you may want to jump back into that exam next year already!

Did you receive any comments from the adjudicators or is it simply a Qualified, not Qualified response? These exams held as public recitals aren't they? Next time I would love to be there to listen! Did your teacher relay to you that they thought you could pass the Fellowship? I know some teachers like to pressure their students and make them go for things even if they are not ready, but for something like the Fellowship I would not want a top student of mine to feel depressed if they did not pass and I wouldn't let them think that they had the chance to pass if they don't in my mind. Plus with your nerves I am sure your standard of playing wouldn't have been as good as you had hoped! But if you passed with how you played in these recordings I would have been very surprised at the AMEB's standard, not to say your recordings where bad, not by a long shot, but they expect like at least an 80%+ mark don't they? Some of your playing falls above and at this level, but there where sections that went below it as you of course realized.

Once you know you have cracked all your pieces go do the exam again and I am sure you will blitz it. Just having them under your fingers is just not enough, you can't fool them, they want to hear something that you really know and that has become a part of you, not something that is a newly met friend, that is my take on it at least. Well done on your achievement anyway, you should be proud that you managed to survive through it! I am sure it was a great learning experience.

[perfect_pitch]

Yeah... I know. The Brahms had a number of variations that just seemed sloppy in parts, and the Stravinsky was hard to keep rhythmically perfect.

I do intend to sit it again... but whether to do it next year or the year after is something I'm still brewing over.

[mistermoe]

Hi perf,

i'm sorry you didn't pass!
I have listened to your recordings in the past (old and new ones) and actually wanted to write comments, suggestions, but the reason i didn't was the following: those pieces didn't quite fit you. I absolutely can't understand why your teacher chose them. You won't find a lot of more difficult music out there.
What's sad about it, is not that they might be too difficult, but that you could not show your strong points.
So my main suggestion would have been: change your repertoire (but that would probably have been the worst suggestion to make at that point)
I write that, because i made some bad experieces because of the wrong repertoire some years ago, too (not only because of that, but it had a big influence)

What i'm trying to say is, that with other pieces, there's a big chance, that next time you have better news for us 

I hope to be able to continue posting recordings of my work in the months/years to come.

I hope so too! And then i'll comment da hell out of your recordings!! 

[and if you didn't get what i was saying, this is meant to be an encouraging post  ]

[perfect_pitch]

Thanks moe...

I have already begun to start two new pieces... Schumann's Carnavale and Moussorgsky's Pictures at an exhibition.

That fills up 60 mins of the repertoire... I'm still working on trying to fill the other 20 mins required.



One question however... when you meant that the pieces didn't fit me - did you mean they didn't fit technically (like I wasn't ready for them) or you felt that despite the difficulty I wouldn't be able to 'perform' them well enough?

I ask because I do admit that I loved the Stravinsky... and hope to play them again in say 5 - 10 years time down the line (properly for once), and the Brahms was a pregnant dog to play...

[birba]

I have to agree with Mr. Moe.  But, I feel it's because they're way above your technical capabilities at the moment.  I don't think I would EVER be able to perform the Brahms - Paganini.  And now you're thinking of mousorgsky or Schumann Carnaval.  Why do you choose such long big pieces?  Why don't you do a group of Chopin or Brahms?  Something on a smaller scale.  But smaller not in the sense of musical art, but more concise.  I think this would help you very much.  Maybe in this sense, the pictures might not be such a bad idea.  Their like little miniatures that can almost be played by themselves.

[mistermoe]

One question however... when you meant that the pieces didn't fit me - did you mean they didn't fit technically (like I wasn't ready for them) or you felt that despite the difficulty I wouldn't be able to 'perform' them well enough?

I ask because I do admit that I loved the Stravinsky... and hope to play them again in say 5 - 10 years time down the line (properly for once), and the Brahms was a pregnant dog to play...

Mostly i was referring to your brahms. In your last recording i had the impression that you where somehow afraid of that piece and its technical challanges. Up from the beginning. This, i felt, was so predominant, that the musicality suffered a lot.

Don't worry for the Stravinsky. You work hard and your technical abilities will grow. Just let the piece rest a bit.

I have to brush my teeth now, i'll comment on your new rep later. With hopefully some useful tips, as i played at least da pictures a lot in concerts 

See you!

[astroboy]

Hi - I was at your recital on Saturday and I just wanted to contribute my two cents, which are my own opinion, some of which you may agree or disagree with. And apologies if it sounds a bit disjointed - sentence and paragraph structure isn't one of my strong points!

I would like to commend you for playing the programme which you did - they are big works, and certainly require a great deal of stamina to get through, not only physically but mentally also.

As you already know, the fellowship is the highest award of the AMEB. The last person that received this award in Perth was in 2002 and she played the Goldberg Variations, and she is an exceptional pianist. She was also the first person to receive the award in Perth. So I think that repertoire choice wasn't really an issue. You need to pull out the big repertoire for things like this.

Also, i'm just wondering how many times have you played these pieces in public before the day? And how many times have you played a full length solo recital? You always address the fellowship as an 'exam' and although it is, it really is a 'recital'.. Recitals and exams are totally different kettles of fish, and somehow require a totally different mindset. Why not perform more recitals? Organise some yourself, it's not that hard - there are numerous venues in Perth which you can hire (some more expensive than others of course).. talk to lostinidlewonder - he can tell you the ins and outs of putting on a recital.

I am not sure why you are in a hurry to sit this exam again. Instead of practising the same 4 pieces for a year and a half, why not learn multiple pieces over a few years, build your repertoire, perform a lot more, build your confidence, and then when you are ready to do the exam again, then you can pick something that you know well, and have performed a million times. I don't think there is an age limit to getting the award. You say that you work 20 hours a week? That's not that many hours - there is still heaps of time to practice.

The examiners are pretty high up in the 'ameb world' so why not have a chat to them? Maybe play for them and see which areas that they think you can improve. Play for different teachers (i'm not saying to change teachers because I think your teacher is an amazing one), but like, just once off lessons with other people just to gain some other perspective.

Regarding the actual recital - my favourite piece which you performed was the Bach. It generally had a nice sense of line, and it had a lot of colour which made the whole thing really special (for me, too much soft pedal but that's just my own opinion). Maybe if you had played like you did for an LMus exam you most probably would have passed, but for this higher award, the examiners are probably looking out for something special, they want to hear artistry. You have to really draw them in with your playing, they don't want to hear just another version of the brahms paganini variations. Probably much like how you would stand out if you played something quite mainstream in a competition.

I think your technique is quite good, and overall your playing has improved greatly since I used to hear you play when we went to uni. So I wouldn't worry so much about the technique (although yes it is important), but concentrate more on the musicality and the sound. Do this fellowship for all the right reasons, and have a proper mindset, not just an 'exam'. It is quite important and special so don't be in a rush.

Anyway that just my opinion, i'm not looking to argue or anything and you can take or leave my advice but I thought I would just let you know what I thought - from one pianist to another. But congratulations for attempting it - that in itself is a feat of its own. Good luck for future endeavours!

[perfect_pitch]

Thanks man (won't name you in a public forum)...

The only reason I want to sit this exam is because passing it to me would mean that I've developed my technique, my ability to perform the music and to fully prove that I've made the progression from Piano player to professional.

That's simply it. I sat the LMusA so I could prove to myself that I was paying strict attention to fixing the flaws I used to have (not reading articulation, flat hands, piss-poor voicing etc...) and developing my skills. I want to pass the exam to finally prove to myself that I'm capable of taking my music seriously to the next level.

I had lousy, self-taught amateur teachers before uni who screwed me over... now I want to work towards being the pianist I should have been.

[lostinidlewonder]

That was a great informative post astroboy. I didn't realize that the last Perth person to achieve the award was in 2002! That is extraordinary but at least that shows how high the standards are. Given that it is an exam which only tests one performance it shouldn't be too difficult to crack if you work hard for a couple of years on your program (given that you constantly improve and don't plateau mixing mastery with struggle to keep ideas/playing together).

If it where a test over a series of concerts then you would be sweating. The time constraints for this exam is very relaxed and you should exploit it to the fullest by crafting a program that is top notch and you can literally play in the dark. Then you can present something that defines the absolute best you can do, not just how good you got it after a short time. No one can perform something at the very highest level without years of practice. Maybe you can get to a point where you can play pieces derived from past experience rapidly, but to really capture the "musical soul" you want to give to your presentation, this takes at least a couple of years of thought and consideration.