n regards to the Rachmaninoff, I actually listened to one of artists on the site play the same piece and their tempo was almost the same as mine-although they were obviously technically better, I don't think theirs was 'presto' either.
From a listener's perspective, I think tempo is often an illusion. It stands to reason that a tempo that is, more or less, in time will sound faster than a tempo that is constantly shifting. Of course, you would never want a piece like this to sound metronomic: it has to ebb and flow at intervals. The key with a fast piece IMO is to work out where you want your rubato to be and work the musical effects in at a slow tempo, it will sound more natural and keep your overal tempo from sagging. Incidentally one performance of this piece you might listen to if you haven't already is Benno Moiseivitch's. I don't remember his as being super-fast (though quite a bit faster than yours I'm afraid
), but hair-raising in its relentlessness. Could not be remembering accurately though, it's been a while
Also, I read that Rachmaninoff modeled this particular Musical Moment after Chopin's "Revolutionary" Etude, and I would say that since Chopin composed primarily (if not all) for piano, I don't think Rachmaninoff was going for an orchestral effect. I could be wrong in this instance, but I don't think that the LH was made to be played lightly, but more as a wave of chormaticism and could be smoother.
Very interesting. I didn't know that Rachmaninoff had modeled this piece on the Rev. Etude, though I can certainly see similarities both in technical figuration and overall musical effect. I wouldn't necessarily agree, though, that just because Chopin was almost exclusively a piano composer, he wasn't going for an orchestral effect with that etude. In both cases, the composers seem to juxtapose the martial blaring of trumpets in the treble with the frenzied motion of an entire string section in the bass. But that's just my interpretation
Rachmaninoff is certainly lusher and fuller in his writing for the piano. This particular moment musical seems most reminiscent of the Etudes-Tableaux, which do all seem very orchestral to my ears, where individual notes matter less than overall effect.
Regarding the left hand, I just said lighter. I agree with you that it isn't "light" in the same way the Debussy is, for example, and should have more substance. What I meant was that it should be light in proportion to the treble, which has to always sing, notably the top voice of those thirds. So maybe just that I think it should be more evenly balanced.
Incidentally, I did listen to your 5th Moment Musical and thought that was much better. As David already pointed out, it is an undulating, barcarolle-like rhythm, which I think you capture well. Generally convincing rubato and dynamic shadings. I particularly like your culminating smorzando. I too think maybe the left hand is just a bit monotonous and clunky in places, and maybe a bit too much hesitation on the first beat, but overall, nice work.