You've all raised some interesting points, stuff I've thought about a lot. I have to say I find myself on the defensive here, which is never fun, but here goes.
So you see, I have had to work, and continue to work on improving this aspect of my playing, but really that is the way it should be . . . one should be able to play with dynamics for real!
Hey—this stings a bit, Monica. I too have worked hard at improving my dynamics and am pretty darned good at it. If you listen to the unedited file I uploaded, you'll hear that there's not much difference in the before and after. And I attached it to make that very point.
And then also, one cannot 'tweak' dynamics when playing in public
And when I play in public, I don't. But creating a recording can be—if you and your listeners wish it to be—a different sort of creative act altogether. As in making a feature film, for example, you can blend the spontaneous with the highly edited. Obviously, this isn't just my opinion.
'Cutting out a flunked passage we've come to accept (I do that a lot, to be honest), fiddling with dynamics is over the limit. '
I don't get it, Chris. Why is it more of a sin to miss a dynamic and fix it, than to play a wrong note (and fix it)? I think it would be just as easy to make the argument the other way. What is absolutely genuine in my recording is the rhythmic continuity, because it was all one take. If you cut and paste in other takes, you're (potentially) messing with the rhythmic flow and sweep, and what's more sacred than that? (I was smiling a bit as I wrote that, because I was thinking of that signature quote at the bottom of all your posts.)
"Also, in a video, I find such self-conscious face-making and gesticulating unnecessary at best and gauche at worst."
Joe, did you think I was consciously adding in those movements and facial expressions? Nothing could be farther from the truth. The truth is, were I to try to repress those motions and those expressions, that
would be self-conscious.
"Anyway, this piece I find about as important as a buffalo chip in the scheme of things. Why play it when you can play Bach, Scarlatti, or Handel?"
I can't believe you mean that. Would you like us all to limit our repertoire to the top tier of composers only? There's no composer I revere more than Bach, for example, but some of his works leave me cold. I take any composer's works on a piece by piece basis, and this piece by Zipoli has always thrilled me.