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Topic: Repertoire ideas  (Read 3456 times)

Offline abigailky

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Repertoire ideas
on: March 14, 2016, 03:45:58 PM
Hey there,

I was wondering if anyone had any guidance or ideas for new repertoire for me to learn.

Some of the pieces I've played and learned in the last while:
Bach Italian Concerto
Haydn sonata in C
Beethoven sonata op 13
Liszt Gnomenreigen & Un Sospiro
Chopin Etude op 25 no 12
Rachmaninoff prelude op 23 no 5
Debussy Feux d'artifice
Ravel Sonatine
Prokofiev Sonata no 2
Schumann Piano Concerto

Hope that gives an idea of the standard I'm at right now. I'm looking for pieces which I obviously would be able to master given my past repertoire and ability etc. But I would also like to challenge myself in terms of improving my technique and developing my musicality etc.

I enjoy music from every era and like having a broad program/repertoire on hand. But I take a particular liking to late Romantic such as Liszt and Rachmaninov.. But am open to any suggestions!

I know this is a very broad and vague question to ask, but I would appreciate any ideas at all :)

- Abi
To achieve great things, two things are needed; a plan, and not quite enough time. - Leonard Bernstein
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Offline visitor

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Re: Repertoire ideas
Reply #1 on: March 14, 2016, 03:53:28 PM

Offline medtnaculus

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Re: Repertoire ideas
Reply #2 on: March 14, 2016, 06:24:52 PM
How about some of the Medtner Skazki?

Offline expressman70

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Re: Repertoire ideas
Reply #3 on: March 14, 2016, 08:03:41 PM
Rachmaninoff etude tableaux. Bach french/english suite. Rach concerto (1 or 2). A beethoven concerto. Just some ideas. I like your existing repertoire. It looks like you are on a right path.

Offline briansaddleback

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Re: Repertoire ideas
Reply #4 on: March 14, 2016, 08:25:14 PM
Hey there,

I was wondering if anyone had any guidance or ideas for new repertoire for me to learn.

Some of the pieces I've played and learned in the last while:
Bach Italian Concerto
Haydn sonata in C
Beethoven sonata op 13
Liszt Gnomenreigen & Un Sospiro
Chopin Etude op 25 no 12
Rachmaninoff prelude op 23 no 5
Debussy Feux d'artifice
Ravel Sonatine
Prokofiev Sonata no 2
Schumann Piano Concerto

Hope that gives an idea of the standard I'm at right now. I'm looking for pieces which I obviously would be able to master given my past repertoire and ability etc. But I would also like to challenge myself in terms of improving my technique and developing my musicality etc.

I enjoy music from every era and like having a broad program/repertoire on hand. But I take a particular liking to late Romantic such as Liszt and Rachmaninov.. But am open to any suggestions!

I know this is a very broad and vague question to ask, but I would appreciate any ideas at all :)

- Abi



If you can perform those listed above with any refinement, then I cannot provide any advice as you are way past me in level of advancement.
Work in progress:

Rondo Alla Turca

Offline abigailky

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Re: Repertoire ideas
Reply #5 on: March 14, 2016, 10:54:23 PM


Sounds very interesting. I can't seem to find the title and and name of composer?
To achieve great things, two things are needed; a plan, and not quite enough time. - Leonard Bernstein

Offline abigailky

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Re: Repertoire ideas
Reply #6 on: March 14, 2016, 10:56:07 PM
How about some of the Medtner Skazki?

Medtner had never crossed my mind!
Thank you, will look into it.
To achieve great things, two things are needed; a plan, and not quite enough time. - Leonard Bernstein

Offline abigailky

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Re: Repertoire ideas
Reply #7 on: March 14, 2016, 10:58:22 PM
Rachmaninoff etude tableaux. Bach french/english suite. Rach concerto (1 or 2). A beethoven concerto. Just some ideas. I like your existing repertoire. It looks like you are on a right path.

Thanks a lot, throw the ideas at me! Thanks very much, doing my best to guide myself down that path  ;D
To achieve great things, two things are needed; a plan, and not quite enough time. - Leonard Bernstein

Offline visitor

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Re: Repertoire ideas
Reply #8 on: March 15, 2016, 10:47:33 AM
Sounds very interesting. I can't seem to find the title and and name of composer?
its by the son  of Pancho Vladigerov (btw will suggest some of his work, super important and talentes guy)


Dilmano Dilbero (Дилмано дилберо) Variations, op. 3 by Bulgarian composer Alexandar Vladigerov (Владигеров)

Offline trollbuster

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Re: Repertoire ideas
Reply #9 on: March 15, 2016, 02:12:03 PM
Hey there,

I was wondering if anyone had any guidance or ideas for new repertoire for me to learn.

Some of the pieces I've played and learned in the last while:
Bach Italian Concerto
Haydn sonata in C
Beethoven sonata op 13
Liszt Gnomenreigen & Un Sospiro
Chopin Etude op 25 no 12
Rachmaninoff prelude op 23 no 5
Debussy Feux d'artifice
Ravel Sonatine
Prokofiev Sonata no 2
Schumann Piano Concerto

Hope that gives an idea of the standard I'm at right now. I'm looking for pieces which I obviously would be able to master given my past repertoire and ability etc. But I would also like to challenge myself in terms of improving my technique and developing my musicality etc.

I enjoy music from every era and like having a broad program/repertoire on hand. But I take a particular liking to late Romantic such as Liszt and Rachmaninov.. But am open to any suggestions!

I know this is a very broad and vague question to ask, but I would appreciate any ideas at all :)

- Abi



stop pretending you play the pieces you have listed   

if you really were at that level you would not be asking this dumb of a question

Offline ahinton

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Re: Repertoire ideas
Reply #10 on: March 15, 2016, 02:44:39 PM
if you really were at that level you would not be asking this dumb of a question
...and if you were you might even be writing in English...

Best,

Alistair
Alistair Hinton
Curator / Director
The Sorabji Archive

Offline maxwellsteer

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Debussy for post-Diploma student
Reply #11 on: March 15, 2016, 05:02:20 PM
I have a 17 y/o who has just done the ATCL with Rhapsody in Blue & Bulgarian Dances. I would like him to tackle a substantial piece of Debussy next and would value ieas about what would be appropriate to the abilitylevel his Diploma pieces suggest?

Michael Maxwell Steer
Engl

Offline visitor

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Re: Debussy for post-Diploma student
Reply #12 on: March 15, 2016, 05:09:43 PM
I have a 17 y/o who has just done the ATCL with Rhapsody in Blue & Bulgarian Dances. I would like him to tackle a substantial piece of Debussy next and would value ieas about what would be appropriate to the abilitylevel his Diploma pieces suggest?

Michael Maxwell Steer
Engl
hmm, what about this based on theme(s) of Debussy. Love this thing

Offline abigailky

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Re: Repertoire ideas
Reply #13 on: March 15, 2016, 09:38:21 PM

stop pretending you play the pieces you have listed   

if you really were at that level you would not be asking this dumb of a question



Aren't you just a ray of sunshine.

Well know-it-all, I am indeed asking this dumb of a question. Let me know if you're not okay with that.

Regards.
To achieve great things, two things are needed; a plan, and not quite enough time. - Leonard Bernstein

Offline ajlongspiano

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Re: Repertoire ideas
Reply #14 on: March 21, 2016, 02:19:48 AM

Offline medtnaculus

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Re: Repertoire ideas
Reply #15 on: March 21, 2016, 02:50:02 PM

Video doesn't work. Did you mean this?



No. 2 starts at 2:34

Offline bachopiev

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Re: Repertoire ideas
Reply #16 on: March 21, 2016, 02:57:12 PM
Hi!

I feel like I'm in a nice position to answer your questions, given that I've played many of the pieces on the list (Prokofiev, Bach, etc.) and we seem to be at a similar level. That said, I'll try to recommend some pieces from my own (current) repertoire (found on my signature), as well as recommend pieces that I am not playing.

DISCLAIMER: This is an extremely long post, and will therefore be split in to three parts : Part 1, Part 2, and Part 3. Read at your own risk. :)

-------------------- REPERTOIRE RECOMMENDATIONS : PART 1 --------------------

Bach Italian Concerto

A great piece, of course. A fantastic follow-up to the rather facile Bach Italian Concerto is either the Bach Partita No. 2 (this is one of the pieces I am currently playing) or the Bach Prelude and Fugue in Eb minor, WTC Bk. 1. This is my favorite P & F in all of Bach's oeuvre -- though it is but a 3-voice fugue, I find it much more complex than say, the Bb minor P & F from WTC Bk. 1 that has 5 voices. Also, the Bach Goldberg Variations are, of course, most highly recommended.

Summary of Recommendations:

--EASIEST--
1. Bach Partita No. 2
2. Prelude and Fugue in Eb / D# minor from WTC Bk. 1
3. Bach Goldberg Variations
--HARDEST--

For all of these I recommend the recordings by Anthony Lowery on harpsichord (these can all be found on YouTube).

Haydn sonata in C

A piece in the classical style -- a great follow up to this one is, in my opinion, the Mozart Sonata No. 6 in D. It is extremely classical, and the first movement is incredibly operatic. The second movement is incredibly ahead of its time, featuring a Polonaise (!) in the classical era. The third movement is a gorgeous Theme and Variations, and it is my favorite Theme and Variations by Mozart.
If you are in the mood for something in minor, slightly more melancholy, but still sprightly, I must recommend the Mozart Sonata No. 14b. This is known to be the Sonata that inspired Beethoven's Pathetique Sonata (note the extreme similarities between the second movement of the Mozart Sonata No.14b, and the second movement of Beethoven's Pathetique Sonata). The first movement is a gorgeous movement, and is quite sprightly and upbeat despite the minor key. The second movement is lush and warm, and (as previously stated) heavily inspired the analogous movement of the Pathetique Sonata. The third movement is my least favorite, but is still quite nice.
Now, for something completely different.
If both of these pieces are too upbeat and sprightly for you, I must recommend the Mozart Sonata in A minor (No. 8 / No. 9, depending on the catalogue) which is, in my opinion, the most tragic of all of Mozart's instrumental works. It opens with what seems to be a scene right out of opera, with the furious pounding chords of the left hand serving as the heralds of absolute doom, and the right hand's tragic, heartbreaking "melody" (which is a rhythmic and percussive anguish). One must remember that this was composed immediately succeeding Mozart's mother's death, and is therefore, in my opinion, much more Romantic than any one of Mozart's other sonatas (including his later Sonatas, e.g. Sonata No. 14b). The second movement start off nice and lovely, and Mozart makes it seem as if he has gotten over his mothers' death.
The problem is, he hasn't, and the development  of the second movement of said Sonata is, in my opinion, the most tragic thing that Mozart ever wrote. When I play it, or hear it played (correctly) it gives me goose bumps and chills. This short (one-page) section is filled with more raw anguish, raw despair, and unquenchable anger than Mozart ever showed in the rest of his oeuvre combined (yes, I am including Don Giovanni). True, I am making bold claims, but I am most fervently convinced of their voracity.
Lastly, there is the pacing, breathless, third movement, which is unbelievably disturbing just to hear ... it is as if Mozart just wants to forget about his mother's death, forget about everything, just run away from everything -- but alas, he cannot.

Summary of Recommendations:

--EASIEST--
TIED {1. Mozart Sonata in A minor
        {1. Mozart Sonata No. 6 in D
3. Mozart Sonata No. 14 in C minor
--HARDEST--

For all of these I recommend Mitsuko Uchida.

Liszt Gnomenreigen & Un Sospiro

The obvious recommendation, albeit a rather generic one, is the Lizst Rhapsody No. 2 -- which, though it is a gorgeous and stunning piece (and is in my opinion the best rhapsody ever written), I believe that there is better Lizst to play. If you wish to play this fantastic piece, go ahead, but my technical recommendations do not include it.
Here, the Lizst "La Campanella" suggests itself. It is a highly virtuosic piece, based on a theme from one of Paganini's Violin Concerti (if my memory serves me right). If played correctly, it is a beautiful flowing piece that is very impressive, "flashy" and "showy". It is, however, rather superficial, and lacks the emotional depth of ...
The Lizst Ballade No. 2. This is my favorite Lizst piece, and is absolutely terrifying. I find the opening theme (which is reiterated many times) to be "creepy", a word I abhor and don't use often. It gives me chills, and goosebumps -- I can only say this is true for this piece, and the Mozart Sonata in A minor: 2nd movement, development section. With the hair-raising left hand playing running nontuplets (though it sounds nothing like that, it just sounds like a terrifying wave of sound), against the demonic "melody", against the rhythmic pulses in the right hand, this piece has by far the emotional depth, and substance, of any Lizst piece, with the arguable exception of the Lizst Sonata in B minor. Based on your current repertoire, I cannot recommend this one because I deem it far above your current playing level (and far above my current playing level, too).

Summary of Recommendations:

---EASIEST---
TIED {1. Lizst Rhapsody No. 2
        {1. Lizst La Campanellla
3. Lizst Ballade No. 2
---HARDEST---

For the Lizst Rhapsody No. 2, I recommend the recording by Mr. Cziffra (this can be found on youtube by typing "Rhapsodies Hongroises Cziffra"). For Lizst La Campanella, I recommend Evgeny Kissin's interpretation, which can be found on YouTube. For the Lizst Ballade No. 2, I recommend typing "Lizst Ballade No. 2 Ashish Xiangqi Kumar" and seeing the compendium of recordings gathered by Mr. Kumar, and deciding for yourself. Personally, my favorite is Freire, but on some days I prefer Zilberstein's.

Albeniz - Suite Espagnole
Bach - Goldberg Vars
Chopin - Ballade No 2, Barcarolle, Polonaise Op 44
Beethoven - Sonata No 31
Mozart - Sonata No 14
Schubert - Sonata No 16
Prokofiev - Sonata No 2

Offline bachopiev

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Re: Repertoire ideas
Reply #17 on: March 21, 2016, 03:19:22 PM
-------------------- REPERTOIRE RECOMMENDATIONS : PART 2A --------------------

Beethoven Piano Sonata No. 8, Op. 13

Hmmmm. The (in)famous Pathetique. There are many routes I could go recommendation-wise, so I'll just go all the routes.

One option is to play the Beethoven Waldstein Sonata (Sonata No. 21).

I.

"The movement opens with repeated pianissimo chords in a straightforward but anxious rhythm, devoid of melody for two bars. It then swiftly ascends, followed by a three-note descent in the middle register and a four-note descent in the upper. This phrase is then repeated in B-flat major – a whole tone lower – a device Beethoven also used for the opening of the Sonata No. 16 in G Major (Op. 31 No. 1). After a half cadence to the dominant (G major), the opening phrase returns again, but this time in a tremolo variation.

The second subject group, marked dolce, is a chordal theme in E major, the mediant key. Modulation to the mediant for the second subject area is another feature shared by this sonata and the Sonata No. 16.[2] Later, Beethoven employed the same shift again (in the Hammerklavier Sonata, for example).

For the recapitulation, Beethoven transposes the second subject into A major, quickly changing into A minor and then back to C major for the coda.

Second movement: Introduzione. Adagio molto

II. Introduzione – Adagio molto
The Introduzione is a short Adagio in 6/8 time that serves as an introduction to the third movement. This replaced an earlier, longer middle movement, later published as the Andante favori, WoO 57. The music gradually gets more agitated before calming down to segue into the Rondo.

III. Rondo – Allegretto moderato
The Rondo begins with a pianissimo melody played with crossed hands that soon returns fortissimo, over daringly fast scales in the left hand and a continuous trill on the dominant in the right, as described above. The second theme, a series of broken chords in triplets, is soon interrupted by a turbulent section in A minor that foreshadows the central episode.

The music returns to C major, and the sweet theme is repeated, followed by a series of staccato octaves in C minor that mark the start of the central episode, one of the few cases where such a melodic change is seen, a tactic repeated in larger works like the Emperor Piano Concerto. Soon the octaves are accompanied by swirling triplets in the left and then the right hand. The music grows more tense and eventually reaches a cadence in C minor. The next section brings back the opening theme in chords and further develops it: it appears in A-flat major (bars 221 – 224), then F minor (bars 225 – 228) and then D-flat major (bars 229 – 232), when it is fragmented into shorter phrases (233 pickup – 238) and then transits into a quiet section with major 7th arpeggios, returning after much drama to the C major theme played fortissimo."

Source:  Beethoven's Piano Sonatas: A Short Companion 1. Yale University Press. p. 180. Author is Rosen Charles.

As to my own thoughts on this piece, I think it is beautiful "middle" sonata, however it is a fairly generic recommendation. Now, generic recommendations are not necessarily bad, but in this three-part recommendation series I am trying to give more specific recommendations tailored to your repertoire.

For the sake of completeness, I must include one more "generic" sonata however. After I cover this one, we can get on to the slightly lesser-known ones, that I find much more beautiful than these big ones.

Beethoven Appassionata Sonata (Sonata No. 23).

I. Allegro assai

A sonata-allegro form in 12/8 time, the first movement progresses quickly through startling changes in tone and dynamics, and is characterized by an economic use of themes.

The main theme, in octaves, is quiet and ominous. It consists of a down-and-up arpeggio in dotted rhythm that cadences on the tonicized dominant, immediately repeated a semitone higher (in G flat). This use of the Neapolitan chord (e.g. the flatted supertonic) is an important structural element in the work, also being the basis of the main theme of the finale. [Bachopiev: Yes, definitely. The Neapolitan chord adds so much flavor to pieces -- for another beautiful use of the Neapolitan, see Chopin Ballade No. 1, m.7]

As in Beethoven's Waldstein sonata, the coda is unusually long, containing quasi-improvisational arpeggios which span most of the [early 19th-century] piano's range. The choice of F-minor becomes very clear when one realizes that this movement makes frequent use of the deep, dark tone of the lowest F on the piano, which was the lowest note available to Beethoven at the time. [Bachopiev: Note that in the Sonata No. 31, Beethoven makes extensive use of the so-called Contrabass E.]

II. Andante con moto

A set of variations in D flat major, on a theme remarkable for its melodic simplicity combined with the use of unusually thick voicing and a peculiar counter-melody in the bass. Its sixteen bars (repeated) consist of nothing but common chords, set in a series of four- and two-bar phrases that all end on the tonic. The four variations follow:

Var. I: similar to the original theme, with the left hand playing on the off-beats.
Var. II: an embellishment of the theme in sixteenth notes.
Var. III: a rapid embellishment in thirty-second notes. A double variation, with the hands switching parts.
Var. IV: a reprise of the original theme without repeats and with the phrases displaced in register.
The fourth variation cadences deceptively on a soft diminished-7th, followed by a much louder diminished seventh that serves as a transition to the finale.

[Bachopiev: I am very fond of this Theme and Variations. It is my second favorite Theme and Variations by Beethoven (heresy, I know, I know, I know I'm not supposed like it more than the Diabelli Variations but I do). My favorite is the Theme and Variations from Sonata No. 32].

III. Allegro ma non troppo - Presto

A sonata-allegro in near-perpetual motion in which, very unusually, only the second part is directed to be repeated. It has much in common with the first movement, including extensive use of the Neapolitan sixth chord and several written-out cadenzas. The movement climaxes with a faster coda introducing a new theme which in turn leads into an extended final cadence in F minor. According to Donald Francis Tovey this is one of only a handful of Beethoven's works in sonata form that end in tragedy. [Bachopiev: Yes, this is one of the reasons I am much more fond of this piece than I am of the Waldstein. Though this is a generic recommendation, it is extremely far from a generic piece, and is bursting with creativity. As you, the reader, may have surmised from my past interpretations of previous pieces, I am a very tragic person -- or rather, I'm a person who admires, adores, and loves tragedy. Thus, it should come as no surprise that I hold this Sonata in the highest esteem, and it is my fourth favorite Sonata.]

Source: A Companion to Beethoven's Pianoforte Sonatas. London, UK: The Associated Board of the Royal Schools of Music. p. 169. Author is Donald Francis Tovey.

Now, onto the more specific recommendations. Before we get to these, though, a brief disclaimer is needed.

My favorite Sonata is indubitably the Hammerklavier Sonata -- in fact, this is my favorite piece ever written for the pianoforte. I cannot with a good conscience recommend it to you, however, because it is very much above your level and mine. However, if you would like analysis of this piece, please see:

https://www.pianostreet.com/smf/index.php?topic=60933.0

Part 2 was intended to cover solely the Beethoven, but due to time constraints (on my part) I must break down this one-piece part into Part 2A and Part 2B. I apologize for this. I will write up Part 2B and Part 3 tomorrow.
Albeniz - Suite Espagnole
Bach - Goldberg Vars
Chopin - Ballade No 2, Barcarolle, Polonaise Op 44
Beethoven - Sonata No 31
Mozart - Sonata No 14
Schubert - Sonata No 16
Prokofiev - Sonata No 2

Offline piulento

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Re: Repertoire ideas
Reply #18 on: March 21, 2016, 08:50:07 PM
Some general thoughts:
- NO MOZART??? I think it's benefitial to always have a Mozart piece up your sleeve. I recently studied his sonata in F major K.332 and it was a lot of fun. You can try it out, or choose something else you might like.
- Perhaps something larger by Chopin. The etudes are great, but if you can play them well, why not take something more diverse? (A scherzo or something) Also, I see you don't have any dances in your repertoire. How about a mazurka or two? They're quite fun.
- If you liked learning Bach, maybe add a prelude and fugue from the WTC? I really like no. 24 from book II.
- Maybe add a "different" romantic than what you already have? Schubert, Mendelssohn, Brahms... You can't go wrong.
- Scarlatti might be a good addition.

Those are some different directions you can choose from. Good luck!

Offline mk22

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Re: Repertoire ideas
Reply #19 on: April 12, 2016, 03:48:15 AM
What about one of Chopin's ballades or sonatas?
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