Thank you John, Olaf and Jan-Felix.
John, yes - these are geniune - recorded in my usual pajama regalia.
Jan - I could hold out the fermatas longer. I guess I'm just not overly dramatic, in my playing, anyway. But thanks for the suggestion.
In your recordings no notes are uncertain, also the bass notes are clearly audible and give a strong base - very well.
Olaf, I’m so glad you noticed the bass notes. I consciously made them stronger. With just these pieces, I now have changed the way I play the low notes. I used to think I was too loud on the left hand, and tried hard to make it softer than my right hand. But then I realized that I like strong bass notes –( I always turn the bass up in my car) so why can’t I hear them in my own playing, too? I’m so appreciative when you and the others say things like this and I know you won’t hold back when I’m doing things wrong too.
You really are a profound piano player to get it managed to record high quality pieces one after the other in short time!
Now you’re scaring me. Hope you don’t think I’m another Setrak. ( Of course, not, silly, she says as she knocks on her head) My playing is clearly amateur, as anyone can tell, and these two pieces were relatively easy and also short.
The end of 32/1 I find very strange from the composition, but also audacious. What must people be scared in that time, not used to such dissonant harmonies?
It is a most unusual ending to a nocturne. Talk about making the ‘nocturne style’ his own! It is a little scary, which is why I liked the major chord ending. Or maybe he found the beautiful piece actually did put people to sleep so he added the end to wake everybody up.