Hi!

My piano just got tunned, so I decided to record a piece I've been playing lately. Here for evaluation.
This miniature is in allegro de sonata form, which is related to my research: form in Brahms' piano music.

In case you want to see the video (same audio), here is the link:
http://www.youtube.com/watch?v=wNNXoNNHhQk&feature=plcp

Thanks,

Luís

Brahms - Rhapsody Op. 79 No.2(6:37)

There's something strange with this mp3. It seems to start somewhere in the middle, and also there are strange breaks later on. Can you check it ?

Hi, Chris!

Now I'm at work, I'll check it later when I arrive home (I can't download MP3s here... )

But it's strage. The audio was working, I listened to it completely. Maybe something happened when I converted into 192 kbps or when I uploaded it to PS.
I'll check.

That use to be like that at my office. Bloody annoying. But for some reason it's allowed now. Or they just forgot to apply the rule.

You lucky!

Here Orkut (old Google social network) is blocked, but Facebook is allowed. \o/
Fortunately, I work only 6 hours a day.

hm... there is a problem indeed. Apparently the END of the file overwrote the beginning. I checked the original file, it was okay. The problem happened when I copied it to a pen drive. Another Windows 8 bug??

Brahms - Rhapsody Op. 79 No.2(6:37)

Very nice, Luis. A few wrong (or perhaps muddied by the pedal) bass notes near the beginning (on both iterations), but probably not very noticeable.

I'd like to point out to Monica and others that this piece contains both "mezza voce" and "sotto voce" markings, and I think Luis handles them quite well. There was a discussion on the "Technique" board last year about the difference.

A few more notes:
-- nice misterioso
-- the second time before the repeat the D triad is lost
-- wonderful effects in the piu cantando and mezza voce
-- the sotto voce begins very well. In measure 9-10, and 11-12, have you ever tried playing the fourth beat into the first as detached quarter notes (and observe the rests in the LH by lifting the pedal). It provides a subtle "punch".
The composer indicates this a little by using the quarter notes instead of the dotted halves that we've seen in the previous 8 measures.
-- Everyone ritards at the molto crescendo that follows, even though it's not marked. Is this a tradition that I don't know about?
-- Nice rubato in the pp section before the final "lunga".
-- In the last "mezza voce/misterioso" section the quarter notes are not as detached as they were the first time, and I think detached is better (as well as being marked). Gives it a more "misterioso" feeling instead of just being soft.
-- The triplets into the duples at the end are not convincing. Maybe a little accent on the E-flat in the triplet would help?

Good recording. I've known this piece for 40 years which is why I got a little detailed.

Ok, this is off topic, but since this post will have the attention of both Chris and Luis, let me point out that today's composer - Stenhammar - has no biography.
I mention it here because the two artists that have recorded Stenhammar's works are Chris and Luis.
Maybe one of you was going to do it but forgot.

There are lots of composers without a bio, and it's a bit lame that my composer-of-the-day script can't recognize that. I don't seem to find the time and motivation to compile bios anymore these days. We've repeatedly asked for volunteers for this, but few people have come forward.

Hi, Stu!

Thanks for your detailed analysis (though I don't understand some of them... when you say measures 9-10, you're counting from the development section?).
I don't think there are any wrong notes. But there are 3 or 4 slips (hitting 2 keys instead of just one. =D ) which I left out.

About the ritard on the "crescendo"... I think you're talking about the E major chord in the development section, right before the recapitulation, is it?
If so, I don't believe this is a "tradition". I face this ritard as a rhetorical gesture to convince the listener of the E major chord which first appeared in the development section. I don't know exactly the function of this E major chord (I should think more... at first, it seems to be the Dominant of the Dominant of the Dominant !! but maybe I can find a better explanation for this chord... anyway, harmonically speaking, it's far from the Gm tonic, so, considering the musical discourse, there is good reason, in my opinion, to call the listener attention to it. That's the reason for the ritard, I think. Other performers may find different rhetorical gesture for this passage, but it seems that a ritard is pretty common, from what you said.

I consider two main things while interpreting: 1) style (which has to do with historical evidence) and 2) rhetoric, which is how to convince the listener of the musical abstract elements of the score (this one has to do with analysing the musical discourse).

Thanks again for the analysis.

Luis,
Sorry about the measure numbers. My edition (Peters) does not provide them, so when I refer to a "sotto voce" section and then reference measures 9-10, I'm referring to measures 9-10 of the sotto voce section..
The "molto crescendo" is a few measures after that (in the Peters, anyway - I suppose different editions could have different dynamic markings), and you're right, it's the one heading into the big E Major chord.

Chris,
I'm not volunteering, but let me look around for bio material on this Stenhammar. I had never heard of him and now my curiosity's up. First I'll listen to a little of his music to see if my curiosity stays up

Stenhammar is amazing!

It's a pitty I have to play so much stuff (there will be a little recital of Brahms miniatures in sonata form in my college) and I don't have time to study his music... =\

Hello, Luis,

I have to agree with Stu about the opening bars. There is something there, but it is soon over, as you gain confidence. The rest of the piece is quite enjoyable

Thanks, Richard.

Haven't played or heard much Brahms. Will have to find some music of his to play.