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 Post subject: Re: Dohnanyi, "Widmung", Op. 13, No. 1 from Winterreigen
PostPosted: Sat Mar 22, 2014 4:17 pm 
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Joined: Tue Aug 05, 2008 9:48 pm
Posts: 2000
Location: U.S.A.
Hi Stu,

Thanks for listening. I could do a brief bio for Dohnanayi. I'm not too inclined to do more pieces from this set, although I hope other pianists might do so. I usually don't "invest" in a piece and record it unless it really inspires me. If the answer is "no", but then I proceed to prepare the piece, it feels more like a chore than a pleasure. I might look into some other of Dohnanyi's pieces though. My motivation here (other than really liking the two pieces I contributed) was this: My first teacher studied piano with Miklos Schwalb (as well as others). Schwalb, before becoming a touring artist, had been a piano student of Dohnanyi. So I thought it would be nice to play some Dohnanyi and post it. Back in the 1950s and 60s when I was studying piano, there was considerable interest in this composer, but it seems that over the decades he's become somewhat neglected. That was another reason that I wanted to play those two pieces--to do my part to give his music a bit more exposure.

David

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"Interpreting music means exploring the promise of the potential of possibilities." David April


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 Post subject: Re: Dohnanyi, "Widmung", Op. 13, No. 1 from Winterreigen
PostPosted: Sun Mar 23, 2014 3:39 am 
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Joined: Sat Sep 06, 2008 3:07 pm
Posts: 692
Location: Carbondale, IL
Hi David,

I had a listen to your recording, I like this piece by Dohnanyi rather much. The chromatic turns are dramatic and pleasing to the ear. I can tell it is a difficult piece but I can tell your hard work practicing has paid off!

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 Post subject: Re: Dohnanyi, "Widmung", Op. 13, No. 1 from Winterreigen
PostPosted: Sun Mar 23, 2014 4:20 am 
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Joined: Tue Aug 05, 2008 9:48 pm
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Location: U.S.A.
Hi Riley,

There were times when I wondered if I loved this piece too much or not enough. I certainly spent more time on it than I had anticipated, especially owing to the difficulty of attaining accuracy in the left hand. I agree with you that those chromatic turns are very beautiful indeed. Same with the harmonies and modal change for Part B. I'm grateful that this recording turned out well despite my nervousness with the new Roland R-44 recorder. I think that at the next recording session I'll be more familiar with it.

Thanks for your compliment. I appreciate it!

David

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"Interpreting music means exploring the promise of the potential of possibilities." David April


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 Post subject: Re: Dohnanyi, "Widmung", Op. 13, No. 1 from Winterreigen
PostPosted: Tue Mar 25, 2014 9:59 pm 
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Joined: Sat Sep 06, 2008 3:07 pm
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Location: Carbondale, IL
Quote:
Hi Riley,

There were times when I wondered if I loved this piece too much or not enough. I certainly spent more time on it than I had anticipated, especially owing to the difficulty of attaining accuracy in the left hand. I agree with you that those chromatic turns are very beautiful indeed. Same with the harmonies and modal change for Part B. I'm grateful that this recording turned out well despite my nervousness with the new Roland R-44 recorder. I think that at the next recording session I'll be more familiar with it.

Thanks for your compliment. I appreciate it!

David


I'd like to try this piece out sometime, but I think it will be awhile before I will be as a good a pianist as who could handle a piece of this difficulty. It seems like a technical challenge, nevermind getting an angle with the aesthetics.

Your new recorder gives a little bit more detail to your recording, I think it's subtle but the definition is better.

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"I don't know what music is, but I know it when I hear it." - Alan Schuyler
Riley Tucker


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 Post subject: Re: Dohnanyi, "Widmung", Op. 13, No. 1 from Winterreigen
PostPosted: Wed Mar 26, 2014 5:10 am 
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Joined: Tue Aug 05, 2008 9:48 pm
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Hi Riley,

I must admit that the left hand accompaniment foiled me early on. I initially played the piece using slow practice. I did some hands alone practicing, but it was really necessary to engage the hands together as the better learning strategy. Then I very gradually moved the piece, notch by notch, up to tempo. And sometimes errors or omissions would creep in forcing me to retreat to a slower tempo again. Sometimes I'd play with the metronome in order to identify stumbles or hesitations. They would then be isolated and given intensive therapy. I discovered in later practicing that some of the fingerings I had worked out so carefully were abandoned by my hands. It reminded me that a fingering that works logically in slow practice might not work nearly as well--or at all--when up to tempo. Eventually I had reached a point where despite the time invested, I was tempted to drop the piece. So I did something that usually works for me in that moment of truth at the crossroads. I set up the recording equipment, had some false starts, but finally made a recording that was up to my standard. I've found though that Dohnany's scores look easy enough until you have to play them.

I agree with you that the Roland gives a a slightly higher definition, or as we used to say in the old days, high fidelity. I think that once I get a good handle on the input level, I should be in business again.

David

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