Rachmaninoff-prelude Op.23 no.5 g minor

[onwan]

Hi,
this was my first public interpretation of the prelude. At this concert I was also playing the Schubert Klavierstucke no.1 and Czerny Etude Op.740 no.12 (both before the Rachmaninoff). I really hope, that there will be some advices and recommendations!

Hope you'll enjoy although the video has a bad sound quality.

https://www.youtube.com/watch?v=yMSinjEG8fw

[j_menz]

Nicely done. I thought perhaps a little restrained, though that may be the recording.

My advice - slap your camera operator! Sideways and wobbly isn't your best angle.

[onwan]

Here is my next recording with better video!  

I'd be really glad if there was some advice!

[ranniks]

Either your piano needs heavy tuning or your recording equipment sucks.

I like this prelude more when it's played faster.

[rachfan]

Hi onwan

I've also played the piece so am very familiar with it. You've got a good performance there overall. I believe that you differentiate touch among legato, nonlegato and staccato.  Also forearm octaves from wrist octaves.  Your pedaling enables clarity of line.  Be sure not to catch in the pedal the middle note in three-note slurs.  In the lyrical middle section you voice the melody well.  You can put more polish on this piece, but you have a good sense of musicality in the playing that will help you to do that.  Overall I think your rendition is very expressive.

Here is something to consider: In your playing now there is a lot of tempo variances in your playing. The only one Rachmaninoff calls for is on page 4 at the poco a poco accelerando in order to return to Tempo I. Other than that, there are only about two ritardandos in the score.  The number of tempo changes now is too subjective in my opinion--they do not comport with the score, nor performance practices. My suggestion: With the score open in front of you (you have a few rough spots to fix in there too) and the metronome set at a quarter = 58 or slower, play through the piece two or three times.  The purpose is not to play in a robotic way; rather, it's to instill some necessary discipline and order in the matter of tempo. For example, you DON'T want to start the piece slowly, because if you do, you'll lose any differentiation with the poco a poco accelerando later on.  Working with the metronome will do two things: 1) It will eliminate unevenness of tempo, and 2), if there is any spot that you hesitate on or get the notes wrong, or they're missing in the execution, the metronome at speed will tell you exactly which measures require intensive practice. Bracket them and work diligently to fix them.

I notice that nearly all the younger pianists want to play this 23/5 and the 3/2 in C# minor to the point where they've become war horses.  I hope you'll keep in mind that Rachmaninoff wrote 24 preludes in Op. 23, Op. 32 and including the Op. 3, No. 2 in C# minor.  Some are as good or better than the two conservatory anvils. There are truly some wonderful gems in the wider Rachmaninoff piano literature.

P.S.  The clangy piano needs a lot of work!!! Is that a Bechstein?

David

[onwan]

Here is something to consider: In your playing now there is a lot of tempo variances in your playing. The only one Rachmaninoff calls for is on page 4 at the poco a poco accelerando in order to return to Tempo I. Other than that, there are only about two ritardandos in the score.  The number of tempo changes now is too subjective in my opinion--they do not comport with the score, nor performance practices.

When I started studying this prelude I've only known the performances on youtube like Lisitsa, Gilels, Lugansky...so my intention was to play it same way as they do (meaning the tempo) but when I came to my piano lessons, my teacher suggested me to change the tempos more often than others do. To play the first page a bit slower and speed up the second page. To play the middle section slower than the concert pianists play because of the melody line and phrasing. To start the fifth page really slow and to play only the coda in the full tempo.
At first, I wasn't ok with it because the only tempo I've known and the only I've loved was the Lisitsa tempo. But my teacher pushed me, to slow down and after a while I was familiar with the slower tempo. And now, it seems to me more logical to slow down in some places not only cause my teacher wants but also because of the phrasing.
After 5 years playing the piano my technical abilities are not that good to play it much faster.
But I really appreciate your suggestion and I'll try to split the differences of my teacher opinion and the sheet marking.

I notice that nearly all the younger pianists want to play this 23/5 and the 3/2 in C# minor to the point where they've become war horses.  I hope you'll keep in mind that Rachmaninoff wrote 24 preludes in Op. 23, Op. 32 and including the Op. 3, No. 2 in C# minor.  Some are as good or better than the two conservatory anvils. There are truly some wonderful gems in the wider Rachmaninoff piano literature.

I'm in love with more Rachmaninoff preludes but the g minor prelude seemed to be the most achievable for someone in my level. After a while I want to play some next Rachmaninoff. Do you have some suggestion which prelude/etude I would play next?

P.S.  The clangy piano needs a lot of work!!! Is that a Bechstein?

I have no idea what kind of piano is the black piano. The brown one is Rosler.I have no idea what kind of piano is the black piano. The brown one is Rosler.

[dima_76557]

@ onwan

In the "A" sections, this march should frighten the enemy away. That's why it has to be relentless without any tempo changes except the ones indicated by the composer. Try to achieve that and your performance will be OK.