Brahms Op 116

[arielpiano]

Hi all,
Last week I played the Brahms Op 116 Fantasies in preparation for a recital in Paris, later this summer. I uploaded it to Youtube in 3 chunks:
Numbers 1-3:

Numbers 4-6:

And number 7:

What do you think? Is it good enough to play at Saint-Merri?
Thank you,
Ariel

[rachfan]

Hi Ariel,

I listened to all seven pieces.  In Op. 116 I've only played No. 6, but I'm familiar with the others. They all sound wonderful here, so yes, I believe you're ready to take them to Paris.  Brahms is often not easy to play, as sometimes his figuration is more orchestral than pianistic.  You overcame all of those challenges well with musical solutions.  Your seating position looked just a tad high to me.  On stage take as much time as you need to get it exactly to your liking.  But if the higher position you used in the videos best works for you, then stick with it.  In playing the slower pieces, continue to strive for the Brahms' burnished sound.  Relaxed arm weight is the key.  Good luck!  

David    

[arielpiano]

Thanks for the kind words, David, and for listening to the whole cycle (not insignificant). You're right, for some reason I have been sitting higher lately - I don't know why. Maybe I've been moving away from Gould... And you're right again that the most difficult pieces are the slow ones: 2, 4, 5, and 6. Also, I neglected to say that my hero in this (as in most other) Brahms is Ax.
Ariel

[rachfan]

Hi ariel,

I'm glad those suggestions were helpful.  As for height on the bench, here is the best starting point: Have forearms parallel to the floor with wrists extended neutrally and naturally, and your elbows either level with the keyboard or no more than an inch lower.  If you try that, but it's not quite you, then use that height as the baseline to further adjust the bench height to your preferred comfort level.  At that level, gravity should assist you with relaxed arm weight for richness of tone, but if you're too low, gravity will work against you, as you'll have to use more effort in lifting the arms; however, if you're too high, you'll produce more of a dry and brittle sound.  Plus there'll be an up-flex in your wrists which over time could cause problems.  Once decided, you will then automatically be able to get it right on stage every time. You might want to discuss this with your teacher too.  

By the way, I notice that you handle tension in the shoulders (that is, when they tend creep higher as you play difficult figuration). You've have an inner voice reminding you to lower them to avoid discomfort. You manage that bane of pianists extremely well, which helps to maintain a relaxed playing apparatus at all times.  Good!  

Ax is one of the best artists for playing Brahms that you could have picked.  Practice and persistence are important, but inspiration goes a long way too!  

You'll do well in Paris, I'm sure.  Good luck!

David