A Waltz?

I've only listened to one piece so far, two things: when you pick up with the chorus again, wait a moment, don't create anxiety ahahahah; and second, when you yield for the rubato, you then have to recover it... You can't simply afford to go back to tempo directly.

I am sorry that you did not like the way I played; at least you see that you have the courtesy to listen to a piece in its entirety before passing judgment. I do not think it is possible to judge a piece after only a few bars.

I didn't say that I don't like it... I only gave you a couple of tips that I think could be useful, that's all, as soon as I have time I will listen to everything.

I find it very fluid and expressive....I liked it very much..thank you Giovanni

This is a beautiful Waltz, Gianni, and it is also very "sparse," in the sense that it doesn't have a thousand notes like no. 1 of op. 18 or no. 1 of op. 34; here, you cannot afford to make any mistakes. The piece is certainly well-studied, but if I may give you a tip (I repeat, these are not judgments but ideas to help you work), keep in mind that Chopin's idea of the waltz is not that of Strauss and presupposes this kind of reading.

Ultimately, they were not meant to be danced to, and therefore they hide a harmonic and rhythmic fabric (sophisticated) that is not perceived in some interpretations (for example, a "salon-style" idea of his waltzes... Dimitri Alexiev etc etc). Every waltz is a harmonic world unto itself and, in my opinion, these pieces should be performed thinking of Bach or Chopin's own preludes to have an idea not so much of a waltz, but of sophisticated harmonic architecture, enclosed within the form of the waltz.

I would like to listen to it more closely in order to perhaps be able to give a judgment.

sorry but I made a typo in the comment...(Chopin's waltz is not that of Strauss and does not require this type of reading).

Thanks to both of you. In effect, in the end, it is more of a ballad than a waltz; I tried to interpret it to the best of my abilities. I am probably not ready for this kind of piece yet.

in my opinion, you certainly are.

consider that after reading and an initial study, there is always a phase of deepening in which, once the piece is put together, you listen to the result and work on it until you reach the interpretation idea you have. it takes time and patience, and much depends on the level you want to achieve with that piece. Every piece (but this also applies to those who are more experienced) is always a discovery, even from a philological point of view. it depends a lot on your goal. However, consider that being interpreters means being respectful of the composer's idea but not slaves... and it is not easy to manage to render the idea of the composer in balance with one's own feeling. it takes time and study.

now returning to Chopin.... how do you think about the piece? Chopin was unique in managing to put complex and never unambiguous feelings into his pieces.... the melody that upon a first listen may seem light and carefree always has within it that something nostalgic and melancholy that makes it complex to interpret. Sometimes it helps me to think that his dance melodic lines, as in waltzes or even mazurkas, are primarily nostalgic reminiscences. They express not properly the feeling of the dance itself, but rather the feeling of a nostalgic memory of the dance itself and of its land. In the polonaises, for example, what emerges is not the true Poland with its typical melodic lines, but the Poland that he remembers and thinks of with great nostalgia. Chopin's waltz tempo is a "sfumato" triple meter, like memories, which makes it a tiny bit less rhythmic and more "soft".... try to give the singing more regularity in its flow,

anyway, I tell you again that for how you play it, you are ready and you do not lack sensitivity....IF you want to improve it, you must work on these things. as after all, we have all worked on them... and we always work on every piece. at this moment, as an execution (for the interpretative aspects), it is not at a concert level, but you are already at a good point in the study of the piece and it is beautiful to listen to you because there are many emotions inside that you express well and make one feel.... so.....

Giovanni, you must learn to sing before playing... That's all.

If I had to sing what you played, I would be out of breath at certain points. This cannot be. Let us remember that Chopin is the prince of cantabile; no one like him has made singing such an important element in the piano.

Learn to sing Chopin's music even before laying hands on the piano. Imagine what you will be able to draw out of it. The notes are there, some points still need to be properly cleaned up, but these are trifles.

Raise the bar!!

Thank you Nancy, your words encourage me. Inside myself, I feel it differently from how I am then able to play it; I am lacking in technique and this is a fact, and I have come to terms with it for quite some time. Besides, starting to play the piano at 44 after having worked my whole life on construction sites, my hands are certainly forged for hard labor, and not for being a pianist. That said, I will continue to practice trying to improve my technique, and as I always say, I will take your advice to heart.

P:S I wanted to apologize to Antares86 for attacking him with my inappropriate response; sometimes I forget my manners.

Hi Simone, sorry, I only just saw your comment. I know I should sing it even before playing it, but my hand gets rushed. I promise that next time I will pay more attention to the cantabile part and not just [the technical part].

It doesn't matter Giovanni, in the end Simone and I said the same thing in different ways.

In the afternoon, if I can manage it, I would like to make a video to clarify some points of view on Chopin that are very close to my heart. These are not absolute truths, but considerations that I have arrived at after many years spent playing Chopin (25 years, to be exact, thus a journey of thought)... Ideas that I want, in a very humble way, to share; to provide an additional point of reflection on the preliminary stages of studying Chopin.

I will certainly take the second ballad as an example before arriving at your waltz, and I would also like to clarify some things that might be useful to Fabio regarding the preludes he posted.

hey! i'm all ears too!!!!!!!!!!!!!!!!!!!!!  

Fine! I am waiting for the video.

Beautiful Simone...thank you so much.

@ Giovanni...ha ha ..I worked on a construction site too! Don't fear...and it's a small construction site if I'm not mistaken, Antares also opened one with the construction of his clavichord...you just have to put the pieces on the site as well. ha ha.

Yes, anyway, as Nancy said but also Simone, it is about small things that can however revolutionize everything and...raise the bar, for that matter.

Now, however, I must listen to him carefully.

The edit is rendering. In about an hour and a half it should be online.

ah and here I was thinking I was Glenn's only soulmate.... I sing and sing again and sometimes the problem is not singing anymore during performance...

a part with the jokes.... I want you as a teacher!!!!!!!!!!!!!!