It literally used to make me cry when listening to it - my heart hurt from the beauty of it. Then as I became better at playing it, I got more of a 'turned on' feeling than anything else (I know, weird reaction). Too bad I am always alone when playing piano.
Now you know the men on this site are going to want to see you perform this piece in video format!!!
Robert or Chris are probably going to kick us off for talking like this, but I told a male colleague once (who I MISTAKENLY thought was gay, so to my great embarassmnent, I'm sure he must have thought I was hitting on him), that I really think there is an element to playing with effective rubato that is akin to passionate sex, if you will. Some people go through it as just a mechanical thing from start to finish, and others are truly in touch with what they are doing -- savouring every moment and lingering especially on the moments that warrant lingering. My philosophy is that if you are awkwark/self-conscious at rubato in piano and play with no natural feeling, you probably have the misfortune of being pretty boring in the bedroom too. Maybe it is not so much a sexual thing, as that those who have the fortune of feeling uninhibited with emotion will be able to have success at rubato, as well as....um, other things.
While we, according to the Terms of Service, will moderate any sexual content, a subject connecting music to sex has of course its values and will not be moderated. Nor will we lock your account or send out special agents to eliminate any possibilities to further posts on the subject
It is an amusing story and I also agree with you that feelings is connected to rubatos which cannot be performed robot alike. That is why we do not like music played by machines but prefer playing of a human being. Most of us also prefer to listen to a performance live where we actually see the pianist and feel that he/she is communicating directly to us. The reason I have not posted any videos is that I am actually too shy to do so and I know that I am not able to act naturally when I know the video camera is recording. I get aware on all my awkward body movements, funny eyebrow and my stupid "nodding to myself" etc. Another reason is that the video camera is broken since we were away skiing.
But back to topic, of course sex is connected to communicating feelings in music. This might sound really weird from my side but the excitement I sometimes feel in music can be close to sexual excitement (now don't make fun of me!). I am pretty sure most people agree here.
It is also the very reason I learned to play the guitar in younger years. I live near the ocean where we had a lot of beach parties in my youth and early understood how well the trick of playing and singing some well-known tunes work on females around the late night fire
I just can't get it perfect. This is the best I can do. Upon listening to it the very last time after editing out starts and stops, adding reverb, and naming it correctly, I did end up crying again, because it just doesn't go the way I wish I could play it. There are a few inaudible notes, some notes that you can hear but are too soft, some notes that came out too loud - Grrrr - I'm so disappointed in my playing. If you have any tips on how to play better, how to play softer, smoother, lighter, anything at all, I would be very greatful.
So frustrating, isn't it. But I've read that almost every great concert artist (unless they have a serious ego) is ALWAYS aware of a little area within each piece of their repertoire that is slightly less than perfect. I think when we work on a piece a lot, it becomes, on average , about 97% perfect, and that little 3% that doesn't always go the way we want can end up bugging us to the point where we don't bother to record it or play it publicly. This is the case for me. But I must be reminded that REALLY, it is usually only ME who can truly tell when a note didn't get pressed all the way to the bottom, etc. Did you ever hear someone play a piece you didn't know and think they were just frickin' fantastic? Then, you learn the piece yourself, hear their performance again after you know this piece even better than they do, and realize they were actually making quite a few tiny "mistakes", if you will, that were imperceptible unless and until you learned the piece even better yourself.
Correct. This often happens when I learn new pieces and also the opposite. I was not impressed at the first listening but get very impressed after learning the piece myself.
I tend to get more disappointed with pieces that means a lot to me as I really like to tell the story of the piece and not just playing the notes. What is between the lines, notes, bars is of equal importance as the notes themselves. I need to know the story of the composer, in which time he/she lived, the circumstances around it at the time it was composed etc. etc. Without this knowledge, it can be difficult to fully understand the music. That is why I sometimes feel confused how the early composers as Scarlatti should be played as we do not know very much about him. In few cases as with Haydn, I feel it is deliberating but in most cases not. The reason I have strong feelings for Chopin is that I know very much about his life and his circumstances.
So, great job, M! Don't be at all disappointed, as for every 3 things you might have wanted to go better, 97 were better than perfect and could not have gone better.
Yes back to the topic and stop crying Monica! This is a wonderful performance and your way of expressing this beautiful Nocturne musically weighs up by far for your technical mistakes (which really are both few and hardly audible). I really love this nocturne too (while it never makes me cry, you know, men don't cry, we are not allowed to after we passed 15
) and you are making the best out of it and should hold your head high. Keep on doing what you are doing!