I think you played very nicely and I'll trust that you got all correct notes and rhythm in the 1st and 3rd movements;
Thank you Monica, I do hope I got all correct in the outer movements!
I liked your tempo in the 2nd movement but there is something that bothered me a little, which is that you often delay your RH in coming down - almost like you were trying to make it rubato except to me it only sounded like something was off.
Well, actually RH should come down also before the LH, sort of hurrying and delaying against the supposed steady beat of the LH. This kind of rubato, that Sandra Rosenblum in her Performance Practices in Classic Piano Music (recommended!) calls "contrametric rubato" (from Emanuel Bach's definition wider den Tact
, ie "against the meter") is the typical 18th-century rubato, as opposed to the usual agogic rubato in fashion since the 19th century. Of course, what is right in principle may well be sh***ly implemented, as in my case. In fact I like experimenting but I'm not sure I'm always successful in what I do - very glad that others like the Andante, though. Harpsichordists are usually more into developing a taste for that practice (here's a remarkable example: http://www.youtube.com/watch?v=hSFTsxpBqrQ
). Andreas Staier plays it even more rubato, but unfortunately there's not on YT. And by the way, did you notice how this contrametric rubato is deeply embedded in the writing itself of the Andante?
Your performance and interpretation of these movements are well done. I particularly enjoy your 2nd movement. The balance among the bass, the accompaniment duet and the melody is superb. Your rubato is well played and fits the movement well. I also like the joy and vitality that you give the final movement although at 1:04 (the ritornello in C) it seems a little strange. For me, though, I would like a little more crispness in the first movement rhythm.
Thank you Scott. Concerning the far-out moment at 1:04, you know, I've been emphasizing that passage since the very first approach to the score but couldn't really understand why. Later, looking better, I realized that Bach, by means of a simple change of register, creates the aural illusion of augmenting the "g-g-f-e-d" main motif you hear two bars later. Quite a trompe l'oreille
, and absolutely unexpected here.
As far as the sound, I believe that you are getting some phase cancellation by mixing the stereo image into mono. The fast movements have the feel of some phase shifting. If you want to do just a mono recording, you might just try recording from the one mono jack as opposed to connecting the two jacks for stereo and then mixing down.
I am aware of that problem but the stereo-to-mono mixdown is the lesser of two evils. In fact, I can't properly do what you suggest because my piano doesn't have its own amp/speaker system but relies on the PC soundboard/speakers. If I record from the one mono jack (that is the left channel) it ends up that I play while listening from the left channel alone, not a viable solution for me.
George and Pantelis, I want to thank you too for your appreciation.