Hello all,

Redid the first group of this project. I think they are much improved, thanks in part to the helpful PS feedback. Even in those instances where I didn't agree completely, I think it helped me more fully realize what I wanted to do. I know Chopin 4 and 6 and Scriabin 5 may still raise eyebrows, but I hope my vision for them at least comes out better.

Comments welcome as always.

Joe

Chopin - Prelude in C Major, Op. 28, No. 1
Chopin - Prelude in A minor, Op. 28, No. 2
Chopin - Prelude in G Major, Op. 28, No. 3
Chopin - Prelude in E minor, Op. 28, No. 4
Chopin - Prelude in D Major, Op. 28, No. 5
Chopin - Prelude in B minor, Op. 28, No. 6

Scriabin - Prelude in C Major, Op. 11, No. 1
Scriabin - Prelude in A minor, Op. 11, No. 2
Scriabin - Prelude in G Major, Op. 11, No. 3
Scriabin - Prelude in E minor, Op. 11, No. 4
Scriabin - Prelude in D Major, Op. 11, No. 5
Scriabin - Prelude in B minor, Op. 11, No. 6

Joe,
I know I said I wouldn't comment (you made it clear you didn't care to hear what I said) but I didn't say I wouldn't listen. Having just listenend to Chopin Nos. 4 & 6 and the Scriabin No.5, I must say that, IMO, you played them very beautifully, with insightful voicing and masterful control of rubato.

Hi Eddy,



All I meant was that while more abstract musical analysis (e.g., theory, rhythmic analysis, counterpoint, etc.) is interesting and important in its proper context, I personally don't find it that pertinent to discussions of musical performance. Just my opinion of course. That said, I did quite enjoy our argument over rubato. Even though we didn't reach a final agreement, I hope it broadened both our perspectives (at least it did for me). Also, I would point out that I did take your specific performance-related comments on Scriabin 2, 4, and 6 into account after I sifted through the pedagogical treatise (sorry, couldn't resist ). But please at all times feel welcome to comment on whatever strikes you. I honestly was only irritated by that other issue, since it seemed you were questioning my right to giving my honest opinion on someone else's performance (Janna's), but I forgot about it in a day anyway as is my way and admit that I overreacted. Yeah, I have to admit that Chris is right that sometimes I get my "hackles" up, as he put it, but at least I don't hold grudges.

Anyway, thanks very much for listening to these three and for your compliments.

Joe

Hi Joe,
I listened to the Chopin. I think you played all the preludes nicely, although I'm still not crazy about the liberties you take on no. 4. I know you like it this way, though, so that's fine. I do like the way you played the climax at 1:01. Did you drop the LH octave? I LOVE to do that sometimes...

Regarding no. 3 (and really all the others), what is all that clicking noise? Is it your bones? I have clicky bones too sometimes but it's pretty obtrusive in your recordings. I've nicknamed this Prelude, the "Moth Prelude" because it reminds me of a moth flying around my porch light. But this moth seems to be running into the light a lot, hence the 'clicks'. Also, I hear an editing cut at 0:45 - maybe you can get rid of it. I'll not have time to put these up until later in the week, maybe not until the weekend.

Always good to know yourself
As I read somewhere,

Hi Monica,



Yes indeed. I'm glad someone at least liked it Well to be fair only one other person, David, mentioned it and he didn't like the score emendation, but I love octave doublings and lowerings too when they seem to fit the music and here the dramatic fire of the climax almost requires it for my taste. This idea I actually stole from Cortot, but the one in the final chord flourish of No. 9 is mine



Sorry about the clicking. I hope it's not my bones; that could be a serious condition I also cut my fingernails before recording, so I wouldn't think that would be it, but maybe I didn't make them short enough. In certain places, it could be slight creaks from the bench.



Interesting image. Actually, I believe von Bulow called No. 10 "The Night Moth."



Good ear, Monica, and thanks for noticing that. I'm attaching another version of that prelude to this message. Funny story about this actually. I hate to have to do any editing, especially with a piece this short, but what happened was there was one take I really liked but then there was a loud creaking from the door to the studio, which I stupidly hadn't shut all the way. And that I definitely couldn't remove, so I cut in a passage from another take. Now I cut it better. This version at least seems to hide it better (to my ears).

Joe

Ok, these are up. Please check all links- too many for me to check...

Thanks very much for putting these up, Monica. The links work fine. One small error I noticed is that the time for No. 3 of the Scriabin should be 0:47, not 1:53. Everything else looks good. Thanks again.

Joe

I listened to some I remember commenting on earlier. They all sounded much more flowing and confident, no longer giving that initial impression of 'clunkiness'.
I still think that your LH often dominates the RH and sometimes drowns it out. Not sure if that is the playing, the instrument, or the recording. Probably all of the above.

Thanks, Chris. Probably the playing It's a small room, so sometimes I find it hard to hear myself. I guess with the exception of Chopin 3, though, where I think the left hand could yet be quieter, I'm fairly satisfied with the overall balance. Any particular places where you hear the left hand as more dominant?

Not sure how much sense that makes. My room isn't so big either (about 2.5 by 4 meter) but I don't have that problem. Could be your instrument is bigger than mine.


I'll have to listen again to answer that.

Well, acoustics is a complicated science, especially when a Steinway 7-foot is involved...God only knows

Hi Joe, I just listened to all of these recordings. I really enjoyed your Chopin which is techniquely well controlled and interpretationally well unified in your own concept. To the Scriabin, to which I listened twice... they are also well excuted, but some rather slow pieces give me the impression that your interpretation is not so well shaped as your Chopin (especially in no.2). It could be your way to see them, but at least to my untrained ears (I just got used to Sofronitzky's recording) it sounds like (if I'm allowed to exaggerate) you don't know how it ends, but just follow the score. (Sorry in case my expression hurt you, definitely it isn't my intention! English is my third language and I don't know how to put it well And I strongly believe that also the opinion from untrained listeners is very important - at least to me.)
BTW in no.4 (Scriabin) I can hear the noise from (probably) pedaling so well that it was very annoying. Have you applied a different recording setting to that piece?
Wish you a good luck and great fun in completing this ambitious project!

Hi Hye-Jin,

Thanks for listening. I totally agree with you about the Chopin vs. Scriabin. It's probably because while the Chopin has been in my repertory for quite some time now, the Scriabin are relatively new pieces for me (learned a couple of years ago). I always wish I'd learned more at a really young age for that reason Thanks very much for listening and for your comments.

Joe

Hi Joe,

These renditions have more finish and polish than the original postings. You differentiate every note that you play. Very thoughtful and beautiful playing.

David