Hi,

here my new recording. I think the rhythm is now not too much wrong... I checked that I did not miss too many notes.

There is a long pedal indicated on the Henle score along most part of the long recitativo bar 4: only the last three chords are outside. I did it as indicated although most interprets do not it so long for avoiding the dissonance of the last RH notes.

I think this version is better on the rhythm - though there are too still many places where you get carried away and rush. The main thing that catches my ear now is the unevenness of the LH chords, and some over-generous pedaling. I did listen with score but I spotted following things:

at 0:49 there is a wrong note in the RH chord, creating a strange harmony.
at 0:56 I had to laugh - you sound uncannily like a piano tuner working on an unwilling string. I don't think playing this passage like that is such a good idea.
at 1:45 some of the bass notes seem to be missing.
at 2:25 you play a wrong note in the RH, which makes for a strange harmony.

Sorry to be such a nitpicker. But I guess any teacher would tell you the same, and ask you to work more on it.

My mistake !

I am happy with this beautiful crescendo-decrescendo. It makes me rather cry. May be your tuner is special ? Anyway, mine does not hit the key as poetically as I did.

My fifth finger too weak...

I play a C flat at 2'24" and an E flat at 2'25.5", which are both right. Is there a mistake in your time ?

I will. Thanks for your help.

Hi Didier,

I like the texture you have created between the hands. Also Monica, that was a really good suggestion about drawing lines from the right to the left hand when figuring out difficult rhythms.

Didier, as you rerecord this movement, you might want to try for a bit more dynamic shading.

I enjoyed your performance overall and found something very moving in your playing. Your lush tones created an emotional force in the playing.

Thank you for sharing,
Kaila

Hmmm... I can't hear anything wrong there now. I wonder what it is I thought I heard
So notewise, this is almost perfect. Rhythmically you are much more steady than a year ago or so - don't let that slip. If you now work on evenness of the chords and pedal usage (listen back to yourself very carefully) then this will be really good.

I thought that dynamic indications were mostly being observed here. But yes, it could perhaps be a bit more pronounced, as even a good recording tends to flatten out dynamics.


I second that. Despite the technical issues, this is musically convincing and projects commitment and great love for the music. I hope you won't lose that quality in the process of refining your technique.

Thank you Kaila and Chris for your encouraging comments.
Oh yes it is a very moving music that I do love a lot! And I am very lucky to play this piano the sound of which helps me much.

Indeed I would like to get deeper dynamics by playing quieter at some times and more progressive crescendos (except for the one of the 'tuner melody' that I could tame although I am rather happy with it in my second recording ) . However I think that I will not be able to match the dynamics of some great recordings (Pollini's one for instance), which are due to the much larger skills of the pianists of course but also, I guess, to the capabilities of their concert grand pianos.

And, I strongly believe, the skills of the recording engineers and editors.

Hi,

my third attempt



Beethoven - Sonata no. 31, op. 110 - Adagio ma non troppo - Arioso dolente (3:27)

I like it! Nice work Didier. It was both contemplative and dramatic at the same time. The pedaling was occasionally a bit much for me, but overall a very good performance. (I did not listen with score this time). Good work improving this!

Thank you Eddy for your listening, moreover without score, which I take as a proof of trust !

I paid more attention to the pedalling in the Arioso dolente but may still have blurred some LH chord transitions ? I still assume the dissonance caused by the long pedal in the Recitativo, as indicated on my score although not usually maintained so long. For instance, Pollini removes it after the initial arpeggio.

Your perseverance had paid off ! This is getting better all the time. Rhythm is quite stable now, pedaling is maybe a bit over-generous but not intrusive, the LH chords are not always optimal but much more even than before. Good job, this can certainly go up on the site.

Chris, thanks again for your help !

You are welcome. This is up on the site now

The sound is excellent! I've not really followed the development of this performance, but would like to compliment you on producing a recording which manages to capture both intimacy and Beethovenian impetuosity lurking below the surface. Very well done.