thank you all so much for the numerous and thoughtful comments. It´s really good to have some fellows here, who are really anxious to improve recordings.
That´s why I consider this forum much valuabler than YouTube f.ex.
I´m sorry for my one day delayed answer, but yesterday I wasn´t at home.
In the following I would like to give some direct replies to single comments:
The Op.53.6 sounds a bit choppy and dry, it could perhaps benefit from a tighter rhythm and better articulation of the alternating 16ths.
Seems like the bars with only 8ths are considerably faster than the rest.
May be there is some truth in that, but it has to do with my interpretation. I don´t want to be the seconds always "mathematically clear", I consider them more as a little dissonant background, more a plain of sound, which is "bantering" us all the time during the piece. That´s why I take some pedal here and there during the dissonances of seconds. The eigth-chord-repetitions I play a bit faster, indeed, that´s my way to express the stormy character of that piece. But right, may be I should play it more well-behaved.
I was just a bit disturbed with the way you play the sforzando on RH. You could make a rounder and deeper emphasizing on those spots.
That´s my way to play expressively, but sure I´m a babarian.
No seriously, probably you are right and I should play also here more well-behaved.
I completely agree with Chris on these points, and I'm sure you play the 8ths-bars much faster. Was it your intention? Even if it is the case, I got an slight impression that you are hurrying.
I have explained that above, I want to express that "Storm and Stress"-character (Sturm-und-Drang-Charakter).
BTW did you read my post on the Liadov thread? I am just curious about how you teach your little son the piano playing
Yes, I have read this during my holdidays in Switzerland on my cell-phone, which has internet access (but it´s quite expensive from foreign countries), but I don´t use my cell-phone to answer, because it´s too complicated, later, when I was at home in Germany again, I forgot it, I´m sorry about that. Thank you for your nice reply there. I teach my son little children-songs like "Alle meine Entchen" (it´s similar to the Moldau-theme,btw
) or "Fuchs, du hast die Gans gestohlen" to play just with one finger at this moment (he is four years old).
Btw, the theme of your dissertation sounds very interesting, though I´m not a specialist concerning Kant. (I only teach the common things like "Was ist Aufklärung?", "Kritik der reinen Vernunft" etc.
First, I want to thank you for your appreciation of my interpretations and your numerous thoughts, which mean a personal gain for me.
The Op. 53 piece, "The Flight" is quite intriguing. (We need to wink about these titles. In the entire Songs without Words, Mendelssohn himself titled only three of them.
I knew that about the titles, but I didn´t know the title "The flight", so thank you very much for that information. It´s very interesting and fitting also from my view. I have read many literature and a dissertation about the "Songs Without Words", but that title wasn´t anymore in my consciousness and it is not in my Henle-Urtext-edition. Where did you find it?
Ok, I must be hearing things. I'm sorry. Please forget I said anything, Andreas.
No, no, you are pretty right with your hearing of cuts. They are exactly at the places you mentioned and now I know, that they can be also audible for others. Of course, you are right, friends should tell each other such things.
Sometimes I don´t know, what is more difficult, to play piano or to do cuts.
I always do it manually and not by the automatic function of Wave Lab, because if I use the automatic function, they always are audible. To do it manually very often seems to be a pure matter of good luck, because you always have to find a fitting "connecting point", which is not always optimally possible. I thought, that these two cuts aren´t any more audible for people, who don´t know, that there is a cut, but as we see now, I was in an error about that. The waves are fitting on each side quite well in the cuts, that means there is no "break" in the waves, but I fear, the difference of dynamic and pedalization could make the cuts audible for fine ears. For me the transition seemed so soft, that I thought, they aren´t any more audible for people, who don´t know about the place of the cut, so I can understand also Chris, when he says, that he can´t hear them.
I will try to correct these two editings as soon as I will find time, but I will have to see, if it still is possible (I worked nearly an hour only on these two cuts you have discovered) (Congratulations to your excellent ears, btw!
). And I have to admit, I prefer to spend my time more with playing piano than always with doing editings, if I´m honest. But may be, I will also re-record op. 53, 6 one nice day, because I think, I still could improve my interpretation. But first I would like to go to my next Bach-piece.
Thank you very much for putting up the pieces, Monica!