VIDEO! A composition by me.

[awesom_o]

https://vimeo.com/74077435

This is one of my recent compositions! Two of my finest pupils are also playing it, and hopefully even more will follow suit.

It is the Allegretto no. 1 from my collection 'Tales from the Void'

I hope you enjoy, and thank you for watching!!

[ted]

I am surprised this little piece has not drawn comments. Its plaintive lyricism and sensitive interaction between the hands lend it real charm. I listened several times. Its sentiment reminds me of Bridge and Ireland, of whose music I am particularly fond, but much obviously belongs to you. Maybe you should play less classical and do more composing and improvising.

[awesom_o]

I do quite a bit of composing and arranging. As much as I can fit in on top of my studies in jazz and practicing the cello several times a day  I want to be a virtuoso cellist one day that can also swing on piano harder than a golfer on the PGA tour.

I'm touched that you enjoyed this little piece. It actually takes pretty virtuoso skills to play well. I meant for it to teach people who play it about how to produce good tone without relying on the pedal.
I can send you the score if you pm me your email address.

Thanks again!

[johnmar78]

thanks Awesome for your original interpretation. Now I can get an idea what it should be played.. Hey, you got the same copy as mine. By the way you rolled the last chord and so as 10th.   ;)and its different to what it has writtten. I suppose, you are the original composer, you can bend rules....

[awesom_o]

I play it completely differently each time though!   I think that's the point of live performance.  You can never play it with the same feel more than once.

[swagmaster420x]

WWW TTf  fff ur name is carlisle? thats so regal omg  r u british royelty

i like the part at 1;10
can u compose some trashy music that has a catchy melody and sounds great without having to pay attention

[gvans]

That's a fine piece, awesom_o, an amalgam of Bach and pop, just enough bittersweetness to keep it from being sentimental. Well done. I'm impressed you kept it clean and elegant, not veering into any of the pianist pyrotecnics I know you possess in ready abundance.

I also like your calling it the straightforward "Allegretto," let the music speak for itself.

Bravo!

[awesom_o]

Thank you, gvans, for your kind words.

I must admit, however, this three-minute performance took every ounce of technical skill that I possess.

 I'll send you the score and you'll see what I mean. There is some highly orthodox/unorthodox [depending on your viewpoint] hand movement that is required to render it effectively.

[gvans]

I watched your hands closely during the performance. You keep your hands and fingers very close to the keyboard--no superfluous elevation. That's a key, I think, to your marvelous technique.

[awesom_o]

I watched your hands closely during the performance. You keep your hands and fingers very close to the keyboard--no superfluous elevation. That's a key, I think, to your marvelous technique.

Absolutely. You mustn't strike the keys from above. You must be already in position so that you can play them from the key surface.

[gvans]

OK, awesom_o, I gave your piece a couple of play-throughs. It grows on one immensely, not to say I didn't like it from the get-go. And yes, it is very difficult to play with little or no pedal. The fingering must be just so.

That being said, I still love the fact that it is a compact, doable piece that is not about how fast one can play, or how virtuosic, but instead is about singing melody, counterpoint, and harmony.

I am playing a number of chamber work pieces now, and I would love to give some of the composers a piece of my mind. Faure and Delius, especially, are giving me grief. Their string parts, while hardly simple, are straightforward and non-virtuosic. The piano parts, on the other hand, require tons of time and work. Naturally, at rehearsal, the string players want to play at the tempos they hear on recordings, not at the 90% tempos I'd prefer for where I'm at with the technical difficulties.

I am convinced there is a mind-set with many composers that if a piano part isn't blazingly difficult, it is inferior in some way. Bulls&*t!

I am also working on Beethoven (op. 69) and Brahms cello (op. 38) sonatas. While hardly easy, they are much more playable, at least for me. I never sense difficulty has been inserted solely for difficulty's sake.

Ravel, on being told his piano trio was too difficult, replied (in so many words), "Well, then, I don't have to worry about it getting hacked to death by amateurs."

Jerk.

Years ago, a fine cellist (Judith Glyde, now a prof at U. of Colorado--yikes! hope she's OK) who can play just about anything, performed a piano trio of mine with some other professors. She actually rewrote some lines of my work, arguing they were too difficult and offered nothing extra musically.

I've never forgotten that, and I think, in retrospect, she was quite right.

[awesom_o]

OK, awesom_o, I gave your piece a couple of play-throughs. It grows on one immensely, not to say I didn't like it from the get-go. And yes, it is very difficult to play with little or no pedal. The fingering must be just so.

That being said, I still love the fact that it is a compact, doable piece that is not about how fast one can play, or how virtuosic, but instead is about singing melody, counterpoint, and harmony.

But that is what virtuosity is really about!  How well you can control the tone and make the piano sing, no matter what music you are playing!

[gvans]

I only play the violin and piano repertoire with one very special violinist, who I hope to have a professional career with in the future.

I do not play it with my older brother, who is already a professional violinist. His control of the rhythm is not powerful enough to be able to play musically under-tempo. My violinist friend, who I do play the repertoire with, has a similar musical philosophy to mine, so our partnership is highly productive and enjoyable for us both.

The Kreutzer Sonata is one of the most difficult things in the entire piano repertoire... and if a violinist isn't prepared to rehearse slightly under-tempo, the pianist is going to start to fall apart and have to drop all kinds of important musical material. My brother doesn't understand how the piano works in this regard, so I do not play with him.

Which is really his loss, because he has always felt that I have the most lyrical tone of any pianist he has ever seen or heard in his life. And he's heard them all, too.

My friend and I rehearse using compatible artistic methods, so our work together is fantastic.

Exactly my experience. It's so hard to find string players who understand the importance of slowly working a piece up in tempo. I am lucky right now to play with a cellist who gets this. We have been auditioning violin/viola players for our quartet, and have rejected several who just want to plow ahead at recording tempos--before everyone is tight, and, as you state, at the price of excluding much musical material. I really think it's easier for string players to play fast, bowing wise. And, as you say, rhythm-wise.

You would know about this phenomenon, with your cello experience...any further thoughts?

Have you played the Brahms D minor yet with your violinist friend? That is one monster piece, too. The tarantella, the finale, requires care and precision initially. If a violinist wants to skitter through it before you've mastered it, forget it. It's got too much going on.

[awesom_o]

I really think it's easier for string players to play fast, bowing wise. And, as you say, rhythm-wise.

You would know about this phenomenon, with your cello experience...any further thoughts?

Yeah... I think that if you have enough bow control, going under-tempo shouldn't be a problem for you.

[dima_76557]

Good piece and nice playing, awesom_o

The Kreutzer Sonata is one of the most difficult things in the entire piano repertoire... and if a violinist isn't prepared to rehearse slightly under-tempo, the pianist is going to start to fall apart and have to drop all kinds of important musical material. My brother doesn't understand how the piano works in this regard, so I do not play with him.

Please, give my best regards to your brother. I think he is right actually, and it is YOUR responsibility to do YOUR dirty linen, not his. Things like the Kreutzer Sonata should be approached even more seriously than any solo work you play - practise it until you can do much more than required, don't just sightread!

P.S.: Have you ever accompanied a singer who required to transpose the accompaniment to Schubert's Erlkönig (much, much harder than Liszt's transcription!) at sight because of a slight cold? Some get actually offended if you can't do that right away!

[awesom_o]

 

[dima_76557]

I don't have any dirty linen.

Then why would you require your brother to rehearse more slowly with you than he thinks is "right"? (Just interesting)

[awesom_o]

 

[dima_76557]

It was not as a result of any difficulty of mine.... I know the Kreutzer extremely well indeed and was by no means sight-reading! I was exceedingly well prepared.

My taste was not prepared for his stiff approach to the phrasing!

Ah, OK. I guess I misinterpreted your word choice in your other post about the pianist "starting to fall apart" and having to "drop all kinds of important musical material". My bad.

[j_menz]

I also believe that violinists regard the Kreuzer as a Violin sonata, with the piano just there for decoration, not a collaborative effort where they may have to compromise.

[awesom_o]

I also believe that violinists regard the Kreuzer as a Violin sonata, with the piano just there for decoration, not a collaborative effort where they may have to compromise.

Good violinists will realize that the Kreutzer is actually a Sonata for Piano with a Violin Obligato part. 

[gvans]

I misinterpreted your word choice in your other post about the pianist "starting to fall apart" and having to "drop all kinds of important musical material". My bad.

Is this our straightforward Dima? Or is this a bit of snide sarcasm?

The whole "dirty laundry" thing, a famous quote by Franz Liszt to one of his less-than-well-prepared students, ought not to apply to musicians getting together to play chamber music, even if it's the Kreutzer. No matter how much the strings prepare (rarely all that much), the pianist usually does ten times as much work ahead of time.

Players in ensembles need to jell, need to work out bugs, need to get to know each other and the music, and the best way to do this is to play, as awesom_o suggested, Slightly Under Tempo. I'm surprised you, Dima, who extolled not long ago in your posts the virtues of practicing slowly, don't support a similar paradigm for ensemble playing. Do you expect a pianist always to have a chamber piece concert-ready for the first rehearsal?

There is a middle ground between sight-reading and performance-ready, and a slower tempo serves that arena well.

Another issue is page-turning at rehearsals. String players have few, pianists have many dozens, each turn requiring a different strategy. On some the left hand drops out, on some the right, on some you just need to be fast. If you have a page-turner, great, or a computer. If not, would you suggest we memorize all our parts-- before the first rehearsal?

Again, a slower tempo makes all this easier.

[gvans]

I have only played the Brahms G major Violin Sonata. 

The "Rain." One of my favorites. Clara Schumann said if she was about to die, that would be the piece she would take with her, or something romantic gushing to that effect. The G Major is a masterpiece, and by no means easy.

[dima_76557]

I'm surprised you, Dima, who extolled not long ago in your posts the virtues of practicing slowly, don't support a similar paradigm for ensemble playing. Do you expect a pianist always to have a chamber piece concert-ready for the first rehearsal?

Indeed. The other person may be ready and you will be holding him/her back. You can negotiate about the tempo, yes, and you can suggest to try it a little bit slower, but if the soloist is not ready to compromise, you just have no choice: the standard is known, and you will have to be able to play at at tempo you don't like yourself without the music falling apart.
P.S.: Say you play a triple concerto, also by Beethoven. Do you think any conductor will forgive you as a pianist when you come to the rehearsal unprepared, not able to fulfil any of the conductor's whims? If it's a conductor of any standing, it will be the end of your career.

[awesom_o]

 

[dima_76557]

I have plenty of choice.
I don't play anything I don't like myself... no pieces I don't like.... no tempos I don't like. I don't play with any people I don't like.

Why on earth would I have to compromise with somebody I am making music with? How could the music-making possibly be of the highest-quality if one or both partners are making artistic compromises?

I only play with partners whose ideas form together with my own a magical synergy totally free of compromise.

I would never compromise the music!

Good for you, awesom_o, and I respect you for that. Just keep in mind that your principles may mean missed opportunities.

[j_menz]

Given that it is rare for two musicians of any calibre to agree entirely on how a piece should be played, I suspect the "missed opportunities" may be vastly greater than the ones available.

One needs to be both very famous and recognised as very great to have a conductor and orchestra of any merit do what Bernstein and the NYP famously did for Gould.

[awesom_o]

I haven't been very interested in playing concerts for quite some time now.

Being a teacher feels more gratifying for me, as I feel I am really helping people to better themselves.

It allows me to get closer to music every day, to love it more, and to study it deeper.

The people I know who have successful performing careers as classical musicians struggle over the long-term to maintain their love of music-making in various different ways.

I am in the process of forming a rock band which could one day go pretty big. That would be a huge amount of fun.

[dima_76557]

Given that it is rare for two musicians of any calibre to agree entirely on how a piece should be played, I suspect the "missed opportunities" may be vastly greater than the ones available.

One needs to be both very famous and recognised as very great to have a conductor and orchestra of any merit do what Bernstein and the NYP famously did for Gould.

Not only that. In ensemble playing, there may be technical considerations for this or that tempo or for who is going to lead in this or that passage. In pizzicato passages, for example, if you don't let the cello lead, you will get a mess. I can also imagine that a slightly faster tempo for certain violin passages makes it technically doable for the violinist (playing on reflexes, so to speak), while taking it more slowly may make it almost impossible. The pianist has to be able to adapt to that kind of considerations. Besides of being the greatest musician in the ensemble, he also has to be the greatest technician, able to both lead and serve at the whim of the other participants.

[awesom_o]

able to both lead and serve at the whim of the other participants.

I don't think you and I are quite on the same page in regards to the interpretation and performance of chamber music...

[dima_76557]

I don't think you and I are quite on the same page in regards to the interpretation and performance of chamber music...

The stress is on "able". During performance in the heat of the event, certain members may do unexpected things, not in line with what was agreed upon during rehearsal. What are you going to do to keep it all together if that happens? What do you do when there is a last-minute replacement (because of illness, for example) on a very important concert and the violinist turns out to have a big ego? Blow up the whole thing because of your principles?

[awesom_o]

 

[dima_76557]

I cannot stand when string players cannot control their excitement and rush as a result of poor rhythmic skills! I will not play musical tug-of-war! I play chamber music!

It is not always poor rhythmic skills. Sometimes it's simply temperament, ecstasy, etc. The one who has to keep his cool always among such hotheads is the pianist. Cool head and burning heart, especially if he has to feed one or more future Mozarts.

[awesom_o]

 

[dima_76557]

Are you giving me advice on how to play chamber music, when you've never even heard me play chamber music?  

No, I'm just telling you what page I'm on. Friends tell me stuff.

Why don't you post some recordings of yourself, dima?

I've got nothing to say for the time being.

[awesom_o]

 

[dima_76557]

The page I'm on is that the music needs to be fresh each time we make it.

In order to be able to play concerts or make recordings using this exciting, spontaneous, and ever-so-slightly volatile  method of making live music, close relationships with chamber partners have to be built and nurtured over many many years.

There has to be a beautiful relationship between the players for the synergy to occur.

That's why I detest  talking about being able to follow or lead at another person's whims.

It's a deeply spiritual experience! It is extremely difficult to find good players to play with!

Here in Russia, the reality of life may be a bit different. Excellent (and very spiritual) musicians abound, but life is life. One of my best friends is a pro who never wanted to go the competition road. He doesn't like teaching either. This has certain unpleasant consequences. First of all, it will rather cost you money to organize concerts on your own than that it will bring you any financial benefits. Second, in order to be heard or to be accepted in the "scene", you have to be ready to make all kinds of compromises of the kind I described, otherwise you won't be able to make a living out of it.

[rachfan]

I really enjoyed listening to your new composition.  It's very original and has a lot of charm.  There are beautiful turns of phrase that create the bitter-sweet nature of the music.  Your playing is excellent. 

Congrats!

David   

[awesom_o]

Thank you, David. I would love to hear you play the work one day! It's only three-pages long. Give me your email and I will send you the score!

[gvans]

Be sure to take him up on it, David. It's a fine score and a great pleasure to play.

[swagmaster420x]

i listened to it the other day, and was surprised by how much I wanted to listen to it over and over again. I like it a lot! Post more of your compositions please!

[awesom_o]

i listened to it the other day, and was surprised by how much I wanted to listen to it over and over again. I like it a lot! Post more of your compositions please!

I'm so glad you liked it! You should definitely play it!

Here is a better recording of it, so it won't be quite so unpleasant to listen to!

[pianoguy711]

I cant pinpoint what I like so much about this piece. But it grows on me every time.  It has a bittersweet quality like something out of Schumann's Kinderszenen..

[awesom_o]

Thanks! I'm glad you liked it.

Drop me a pm with your email address and I'll send you the score.

[emill]

I am utterly not qualified to give an opinion on its compositional structure... BUT it has a very likable melody, one which one can easily hum .... soothing and pleasant .... a piece that could start a day in a happy mood.