DipABRSM... help!

[kelly_kelly]

So I'm retaking DipABRSM in November after failing by 2 points on the recital section in May... My program is:

Debussy - Ballade
Schubert - D. 664
Liszt - Sonetto 123 del Petrarca
Bartok - Mikrokosmos 152, 153

I haven't recorded the Bartok (it's the only piece I didn't play when I took the exam last time), but here is the rest. Comments would be GREATLY appreciated!

[kelly_kelly]

Debussy and Liszt

[kelly_kelly]

Schubert

[furtwaengler]

Hi Kelly_Kelly

What do you think of the music you're playing? I ask not because of your playing, but because of the circumstances, this "DipABRSM" thing. I don't even know what it is but am wearied by the thought. On to the commentary!

Across the presented program there is some truly beautiful playing, but there is also especially in the Liszt, and to some extent in the Debussy (otherwise nicely done) some hesitation which seems not to be emotive hesitation, but whether it is a memory thing, a contemplative thing or a spatial thing, it sometimes hinders the flow of the music. As for the flow...there are good bits in phrases, and phrased that are well thought out and played well, but they seem separated from the whole, maybe by the hesitation, I don't know, but if you can sustain the concentration of thought onto the whole overarching structure, this will surely help. This problem is especially exaggerated in the Liszt, where I wonder if you get lost in the leaps.

This is a uniquely freely romantic playing of the Schubert with some really special moments, especially in the gorgeous slow movement, which by appearances you truly enjoy playing and really have something to say. It is indeed the time stopping highlight of your program, and playing that I am in this moment grateful to have been introduced to...how any such thing could be subject to an exam (or whatever the "DipABRSM" is) I do not know...Pass? Fail? Well, I feel with the Schubert sonata you've really given us something, and this is beyond certain criticism, though not fruitless. My first thought was pedaling and continuity in the structure, that it all may be a bit to liberal...as it developed it turned into something quite magical and beautiful, without neglecting the inner power of Schubert's writings. Consider me a fan of your Schubert!

I seem to remember you working on Mendelssohn's Fantasy. Are you keeping up with that? I'm just curious. 

Dave

[kelly_kelly]

Thanks a lot for the quick and detailed reply!

First off, you are definitely right about the lack of continuity and focus, with the Liszt especially. I tried to record the whole thing through as if I was doing the recital, but I actually lost focus there quite a bit because I made the mistake of looking at the time and realized I was on the verge of missing dinner (I live at university, and the dining halls have a strict closing time), and I was quite hungry! Maybe that reflects poorly on my musical commitment, but hopefully not... Also, I will say that I have spent considerable more time on the Schubert than on the Liszt or Debussy recently, since the Liszt and Debussy both went relatively well the last time I took the exam.

Now speaking of the exam. I will start by saying that beyond anything, I really do love playing the piano. That being said, at my age, circumstances and level of proficiency, I'm at an awkward position. I can and like to play somewhat advanced pieces (the pieces I posted here fitting my definition of *somewhat advanced*), but considering that I'm a university student who is intends to study math or physics and also plays another instrument, it can be difficult for me to motivate myself to put in the time and effort that studying such pieces entails unless I have a concrete goal. Now, I'm not much of a performer, and I'm not quite advanced enough relative to my age that anyone would want to hear me perform even if I wanted to, nor enough to get involved in my university's performance program, so the logical way for me to give myself a goal is an exam.

I would not bother with the exam if it involved me playing pieces that I didn't enjoy, but the syllabus gives me plenty of room to explore music that I love. For example, I feel like I've been waiting my whole life for an excuse to play the Schubert (in particular, but I love the other pieces too) I also like the fact that there is a non-recital component of the exam which involves researching the pieces on the program, because I also really love to broaden my general musical knowledge. So essentially, the exam gives me a reason to do things I love to do in the first place, but might not necessarily make time for if I didn't have a goal to work towards. I suppose this doesn't say much for my self-discipline, but... well... I'm 18, what do you expect? 

As for the Mendelssohn, it has gone on the back burner for a while, since I left for a prolonged vacation without a piano soon after I posted, and when I came back I decided to focus on my exam program, but I'm definitely planning to resurrect it (and maybe even attempt the 3rd movement, which seems like a real monster) once this exam is over!

Again, thanks for your response

~Kelly

[furtwaengler]

Thanks for explaining the DipABRSM. It sounds great as you are using it wisely.

[birba]

The

[birba]

The lisz

[kelly_kelly]

The

The lisz

?

[birba]

I'm really sorry.  I listened to all of your playing and I really enjoyed the schubert.  It's one of my favorites.  I criticized the liszt and debussy, but I felt I was off the mark because it sounded, in the end, like you were a very good sight-reader.  I didn't know how to erase my postings completely!  Then I went back and read your comments to Furtwaengler and found I was right about the performances not really being up to your possibilities.  Probably due to hunger!    but LIke I said, I did enjoy the Schubert, and that "miniature" sound of the piano you were playing even seemed to enhance your interpretation.  18 years old!  Wow.  and you aren't even a piano major.  No problem.  The Schubert sounded like you enjoy what you're doing.

[kelly_kelly]

I criticized the liszt and debussy, but I felt I was off the mark because it sounded, in the end, like you were a very good sight-reader.

"Very good sight reader"... Heh... I really didn't think the Debussy was that bad... I think I'll go practice now...

[birba]

I didn't mean to offend you!  You really are a fine pianist!  I just thought that what I was telling you (in the deleted post) were things that you already knew and it was useless for me to mention them.  The end, in fact, of the debussy was very beautiful, indeed.  But where there were lots of notes, that's exactly what I heard: lots of notes.  It sounded a bit like you were sight-reading and not really getting to the music.

[kelly_kelly]

I didn't mean to offend you!  You really are a fine pianist!  I just thought that what I was telling you (in the deleted post) were things that you already knew and it was useless for me to mention them.  The end, in fact, of the debussy was very beautiful, indeed.  But where there were lots of notes, that's exactly what I heard: lots of notes.  It sounded a bit like you were sight-reading and not really getting to the music.

Don't worry, I'm not offended. OK, maybe I was a bit at first, but I was more annoyed with myself than anything else. I really do appreciate your comments!

[prongated]

Hi!

I find you have a nice sense for Schubert, which not many (in fact, only few) people have in this world. It's really enjoyable to listen to.

If I am allowed to make some comments...the 1st movt. I like with slightly more movement (i.e. a little faster), but yours can be very fine here too. In fact, the biggest gripe I have here is with the way your tempo fluctuates. Actually, it's not really tempo fluctuation - it's just that you take time in places which interrupts the flow of the music, which I don't think serve the musical purpose well. For instance, does the pp like in bar 10 really need to be slower than the passage in bar 9 which it echoes? And while there, are you trying to voice the RH chord? I wouldn't, because the melodic notes are in the LH.

Maybe it's just a difference in approach, but I really do think that it is pedantic to end phrases 'nicely' by taking time (for example, going into bar 20, bar 28, going into bar 33...). I think one of the beauties in Schubert's music is the fact that the melodies flow one after another - as one ends, another begins. Just let it happen naturally - end the phrase, and simultaneously let the next begin. [check out Barenboim's masterclass on the opening of Beethoven's op. 110 on youtube - he discussed something akin to this there]. Also, make sure that the triplets in those sections are even - they sound a bit nervous there.

Another thing I would experiment on is tone colour. For example, how would you play bars 21-22 (A major) differently (if it has to be different) to bars 23-24 (same thing, but in A minor), and how would you 'resolve' it in the next, where we somehow landed in a surprising dominant (E major)? Personally, I like to play bars 21-22 with singing top voice, bars 23-24 with subdued top voice and very transparent LH, and the resultant 2nd theme with more body and warmth (just like being home).

In the development, I would flutter pedal those octaves because they sound a bit dry. And be careful not to chop the quaver (or eight) notes in bars 68 and 74 short. They need to sound exactly the same as the preceding crotchet (or quarter) notes, except they are not held as long. In other words, play them exactly the same as you would the quarter notes, except don't hold them as long.

The 2nd movt. is very nice! I really enjoyed listening to it! And the way you got to bar 42 is just great! Just 2 things for thought. The first is, is it really necessary to play the 2nd theme starting in bar 16 faster than the opening? The second is, while your phrasing is very nice, don't you think that perhaps sometimes the most beautiful melody is heard when it is played as simply as possible? Just a thought for experimenting ^^

The 3rd movt. again I prefer slightly faster, but the way you do it is wonderful too! Just lively and sprightly! I just wish it can be slightly more secure technically, but then again it is a REALLY difficult movement to play! I find it quite funny that people call this the "little" A major sonata when in fact this movt. is technically more difficult than any in the "big" A major sonata!

So overall, to me it's totally promising playing! I think you have fine talent in music, I wish you well in your musical and academic endeavours, and hope that music will continue to be a meaningful part of your life - certainly more than just exams!