Belated HB (and apologies for my late wishes)!
I have been waiting for your returning from vacations wondering about your response to my playing
True, but they actually are the most difficult Rachmaninoff transcriptions after the Mendelssohn Scherzo and Wohin (and perhaps Liebesfreud), especially the outer movements. And, it's Rachmaninoff, not child's play!
This is my first try of playing Rach's composition seriously (I alway thought that I don't need to torture myself with the pieces for large hands
and that this set is just for me having small hands, as you once commented), not to mention his transcriptions, so I'm not familiar with them. But I guess the technical difficulty of them is unlike with that of this set, since it is mix of Bach and Rach. And to me, the second movement was equally difficult with the third.
You shouldn't bother too much about those tiny slips. What really counts in a performance/recording is to convey the piece's distinctive features, which you do in a very effective way. There's no place for a cautious or a hesitating approach here, but a daring thrust is needed even at accuracy's expense.
Thank you for your sharp observation which articulates obscure feelings I had! I gave many tries to that "cautious approach" and could make less slips generally, but felt somehow very uncomfortable with the musical flow.
I must admit that I fail to get its charm,
What a great pity...
this is my favorite from this set
but I found very interesting how you manage the last page or so, starting from the octave passage, which you play at a broader tempo.
Oh, I never found it that special... This was always my conception of this piece. Or I could have been influenced by one of other recordings I've heard...
About the hurriedness, again, I think that it can be part of the performance style. Your phrasing it's not bad and it works in a very peculiar way.
Your professional analyis of a performance is always very impressive, Alfonso. It never occurred to me!
As Chris remarked, you may want to increase some dynamic contrasts.
I expected such a remark already at the recording sessions, but somehow I didn't want it that strongly. I tried to express some dynamic contrast through differenciated articulations and thought that would do. And at another spots I changed the indicated dynamic at the repeats.
Personally I conceive this Gigue like a violinist would do, maybe a tad slower but minding the bowing, so to speak.
It was that conception that I had about the Preludio as I started learning this set. To be exact, I wanted to realize that nice phrasing for the violin on our instrument, just because that was the very elemement I loved most of all in the original piece. But the seamless contrapunctual composition didn't allow me to do that. So I decided to make a completely pianistic approach, also to the Gigue: I had the fast gigues from the keyboard partitas on my mind
All in all, a great job. I'm always very happy when I see a fellow pianist spending valuable time and nurturing a piece that she loves.
Thank you so much for this encouraging words, Alfonso
Frankly speaking, I cannot say I still have the blind love toward this set
Volodos said once on a interview that a long-time practice ruins the spontaneity. In addition to that I would say it lets also the love fade. However the responsibility for one's first feeling is equally important