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Topic: Beethoven Apassionata Sonata 3rd Movement- Critique Please!  (Read 1269 times)

Offline pianosaremusic

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I've been practicing this movement of the Apassionata Sonata for a bit, and I recorded it today at home. The clip doesn't start until around 6-7 seconds in, so just be patient or skip ahead for that. Any tips/criticism would be greatly appreciated!

Thanks! :)

Offline awesom_o

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Re: Beethoven Apassionata Sonata 3rd Movement- Critique Please!
Reply #1 on: August 02, 2013, 08:58:57 PM
It's fantastic!

Make sure to work on the synchronization of the hands a little bit more-it's mostly superb but there were a few places where it could use some work.

You play with real feeling and Beethoven would be pleased. Good drama and zest!

Tune your piano!

I know you avoid the temptation to rush and it shows. Could it be possible to avoid it even more?

Bravo!

Offline pianosaremusic

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Re: Beethoven Apassionata Sonata 3rd Movement- Critique Please!
Reply #2 on: August 02, 2013, 09:03:03 PM
It's fantastic!

Make sure to work on the synchronization of the hands a little bit more-it's mostly superb but there were a few places where it could use some work.

You play with real feeling and Beethoven would be pleased. Good drama and zest!

Tune your piano!

I know you avoid the temptation to rush and it shows. Could it be possible to avoid it even more?

Bravo!

Thanks! There's definitely still a lot of work to be done. I've broken so many strings in my piano that it gets out of tune really quickly :/ I think my tuner is coming around sometime soon...

The rushing has been a major issue- could you tell me approximately where I'm rushing?

Offline quantum

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Re: Beethoven Apassionata Sonata 3rd Movement- Critique Please!
Reply #3 on: August 03, 2013, 05:38:40 AM
It's very good. 

Bar 176-212.  It's more of an interpretive choice, but I would be careful about playing with the tempo too much here.   Beethoven has integrated a perceptive change in tempo within the music using contrasting note lengths, whole bars of rest, rhythmic augmentation, change of dynamic level, etc.  If one plays around too much with it, the overall effect can be diminished or get lost. 

Also agree with above, there is no need to rush.   The piece doesn't need any help sounding fast and intense, it already is that by construction.  Music doesn't need to feel like it is being played fast from the performers perspective, in order that the listener perceive that it is moving fast.  Concentrate on communicating ideas. 
Made a Liszt. Need new Handel's for Soler panel & Alkan foil. Will Faure Stein on the way to pick up Mendels' sohn. Josquin get Wolfgangs Schu with Clara. Gone Chopin, I'll be Bach
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