QUOTE(mel2 @ Jul 12 2010, 02:50 PM)
Your teacher is your best guide with things like this but sometimes you just have to try things for size.
Since my last attempt at Opus 79 I have bought a new piano, better than my dear old digital so might have another go with the aid of its superior sonority. I presume you have a decent instrument.
Unfortunately my teacher is away on her summer vacation! So I'm trying to work it out for myself
I think I'm fine with my yamaha clavinova (Cringe. I know, but it gets the job done, and it's much better than having a piano in a humid, middle eastern climate) But thanks so much!
QUOTE(denmark77 @ Jul 12 2010, 04:36 PM)
The Bach Fantasia is a great piece, and I enjoy it a lot. I always try to imagine it's an orchestral work, a concerto grosso maybe, and the various sections need to each have their own character - from the forte opening descending arpeggios (think 'ripieno', or 'tutti' especially for those big cadence chords) changing to perhaps piano to suggest there are two or three solo instruments ('concertanti' or 'soloists') when the texture reduces to only two or three parts, in the sections involving chromatic scales in imitation. The hand crossings need to be well balanced too, so I had to decide carefully which hand carries the main melody and emphasise it slightly.
Good luck with the exploring new repertoire, and enjoy it, but don't focus too much on getting a 'complete' diploma programme finalised at this stage, as it's a long process and there's much to explore first.
At the moment I'm not attempting to do the diploma, I'm purely playing for my own pleasure
And because I love playing the piano... finally all those years of practice have paid off!
My worry with the Bach is that there are so many different interpretations (as with all pieces ofcourse) BUT with Bach, everyone has their own idea of what is "right" and what is "Wrong".
What an interesting interpretation, I never thought of the Fantasia in that way
That's very interesting! I shall try to imagine that the next time I practice.
QUOTE(Robodoc @ Jul 12 2010, 11:15 PM)
I play the Liszt Petrarch Sonnet 123. I learned it by breaking it down into sections and then learning the sections until I had the notes right (hands separate, hands together, slower then faster, from memory, etc.). Once I had the notes right and up to speed, I could start the real work which is to make it sound like music, that is to say like the wonderfully expressive evocation of love that it can be, with pedalling, articulation, phrasing, voicing, rubato and dynamics all just so - every note a drop of gold, as my teacher so eloquently puts it: Getting the notes right took about 4 months. Getting the music right has taken me about 18 months . . . so far.
As of now, my main issue is the darn chords -.-
Because I am having an issue playing the chords in a balanced manner, and playing them all at once. My big chords all end up sounding like ripples :/
And yes, the Liszt will take forever to get correct in terms of interpretation. Some people spend a whole lifetime getting it correct.
QUOTE(Frederic Chopin @ Jul 15 2010, 03:08 PM)
The Brahms is a beautiful piece.
Just be assured that many sections repeat and so it is not as difficult as it seems. Make sure that you have full access to the keyboard, as advised by fsharpminor. When practising, play the notes/chords with a full tone and confidently and familiarise yourself with the hand position required to play the chords accurately when in tempo. A detailed thought to fingering and fingerwork will help tremendously with the faster twiddly bits before the chords so that they don't end up a blur. Most importantly, don't get too bogged down with the technical aspects but remember the phrases, the longer line, direction, dynamics and character of the piece. I had a wonderful time learning it ages ago.
*Going to dig the piece up now from under the cobwebs!*
The Brahms is SO beautiful. When my teacher first played the piece to me, I was so thankful that my mother kept pushing me to continue with my piano lessons after a year or two of study
Again, as with the Liszt, I'm having the (very basic) problem of getting the chords to play together -.-
And it's SO frustrating.
I looked through for all the repeats.. and I realised that at least a third of the piece is repeated
So in terms of pages of music to learn, I only have 5 or 6 now, as opposed to 9
Luckily for me, I also have a very nice edition with half decent fingering and pedal markings all the way through the piece, so I dont have to spend too long on working out fingering/pedalling by myself.
EVERYONE - ON THE BRAHMS: Just to know , what fingering did you use for the left hand and right hand twiddly triplet semiquavers followed by octaves?
Oh and what is everyone's thoughts on interpreting Bach on the piano?
Some people think you should stick to the period type performing - in which no pedal is used, no or little dynamic variations, and the pieces are played (in general) very fast.
Others feel that: since we are playing on a modern instrument, we should use the facilities available, and be able to incorporate dynamics and use the pedal occasionally.
What do you think?