Thank you so much for listening Julius, Olaf, John and Chris.
Olaf, I pity your frog problem. We have them too down by the river but right next to my house are toads that make a soft croaking noise at night. It's actually a peaceful sound. They sing along with the crickets. Is your pond a natural one, or did you make it in your yard? That's a common thing around here.
WARNING: THESE QUOTE THINGS ARE ALL REVERSED. I DON'T KNOW WHAT HAPPENED. THIS IS THE SECOND TIME I TYPED THIS.
[/quote] 7/1: that's more on the slower side
I know it sounds slow, but that's because I don't play that great. It's actually two whole seconds faster than Rubinstein.
50/1: clear and precise chords. I could imagine even stronger lyrical playing here and there, also to phrase the left hand melody in the last part even stronger so that it stands out more clearly above the right hand accompaignment. You do, perhaps only a bit more exxageration maybe.
You and Chris are right about this one. I wanted to bring out the left hand more, but seems like it didn't work out. My only excuse is that yesterday, I worked outside in my garden all morning, planting flowers, transplanting rose bushes, etc. and then at the piano my arms and fingers felt like lead. I wanted to record the third mazurka then too but my fingers couldn't do a single trill, so I did that one this morning. Anyway, I think I can do this second mazurka better, so I'm going to try it again tomorrow.
What for a sad piece - is seems the last piece Chopin ever wrote. My score dates 1849 and states in the critical remarks:
"last sketch Chopin wrote down before his death"
My book says the same thing. I can't think about it, though, when I play this or I don't make it to the end.
In bar 8 and similar, on the second beat in the RH, you play an eight and a 16th. My edition only has that on the first beat, not on the second
My book has the same as yours. I don't know why I do that. I think it's because I got a certain way of playing the trill or mordent stuck in my head and now I can't play it correctly.
You don't seem to observe the "poco rall." at the end of the sotto voce section
You're right. I have no excuses.
The 68.4 is very/too slow IMO, so that it loses the Mazurka character and becomes more like a slow melancholy waltz
I think the tempo I play this is just how I feel. Like it's unnatural to play it any faster. (only me, I know) But FYI, Rubinstein plays it at 3:16 and I play it at 2:29. However, have you heard him play it? There's a whole section that I never knew existed in the piece. And even the other parts are quite different than my version. Still, subtracting the seconds of this 'extra' section, he plays it slower than I.