Yes, better in the bass, but strangely on the right it still seems fragmented... but... I would say that at this point the recording takes away a lot of the softness of the live performance, as you say. Is it possible that you focused too much on the bass and forgot certain things on the right? Ha Ha... I always do that... aside from thinking so during long phrases, and being less fragmented, there are moments of great beauty. Even near the end at minute... I'll tell you later. I would say we are almost there, no? Are you not satisfied yet?
I listened to it again just now at a lower volume and I must say it's a completely different thing. In my opinion, we are not listening to what you heard while you were playing it. At this point, everything changes. Anyway, regarding the progression of the piece, I would say: a really beautiful start as an opening and in progress... then very beautiful at sec. 47 or the bass is very beautiful from 2.13 to 2.28... and also the alternation of dynamics at 2.37. I also really liked the chords from 2.50 to 2.56 and then before the end, but also the end itself. In my opinion, you are almost at the finish line. Very beautiful anyway.
P.S. The fragmentation I heard in the right hand was perhaps due to the recording. What do you think?
Thanks Fabio! Regarding the issue of fragmentation, I think there are several factors.
First of all, live everything is softer and more fluid... especially the dynamics are much more expressive. The pp in a recording becomes a p and the f becomes an mf..
The piano should be considered as having been recently regulated and tuned but never voiced, so it lacks the true preparation that would also make it easier to play. ...and despite the regulation performed, it doesn't respond like a Steinway.... perhaps precisely because it isn't a Steinway..... The room is of such dimensions that it is not possible to move the microphones further away, which means they pick up a lot of the sound's attack...
Perhaps when playing I feel the difficulties I encounter with the piano, and therefore it's possible that a certain angularity is mine for this reason....
In any case, thank you very much for your opinion.... for me, the opinions of others are very useful for study....
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nancy
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Reply 25 by nancy
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pianoexpert wrote:
I can't listen to it... it gives me an error!!!!
I'm sorry Paolo, as soon as I get home this evening I will see if I can resolve it, hoping to succeed... I don't know what the problem is. I'll try to re-upload it.
Indeed I understand... I think it's largely due to the recording, otherwise lowering the volume wouldn't make everything disappear as happened to me. Excellent, I would say.
When listening, I try to commit myself and do a kind of work that is useful. Even on the pieces I post, I would appreciate careful criticism... it helps immensely. Perhaps many are held back by the fear of offending or acting like teachers. I would say it's very useful to say what one hears without euphemisms. I hope to be able to study it myself as soon as I have some time; it is truly beautiful.
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nancy
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Reply 27 by nancy
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let's see if it can be opened without problems this way
I like it much more. Compliments. However (now you're going to tell me to go to hell!) I would still venture further. Sometimes I say: "let's try to go the other way... beyond the border... one always manages to return within the limits in time." I would insist on creating the three sound planes much more decisively: background, the melody of the right hand; second plane, the bass; and foreground, the central theme of the chorale. Now, I believe that to create this, one must start much more softly without fear that the notes of the right hand escape, which should sound pianissimo. These, supported by the bass, await the surprise of the central theme of the chorale which remains in the foreground. To avoid fearing the loss of notes at the beginning of the piece, it is advisable to use the natural weight of the fall of the fingers. The hammers reach the strings with decisiveness but without any force—just enough to produce the sound, with equality (without trying to think too much). The pedal helps to create a distant cloud sustained by the light of the bass. And it is the central theme that plays really and concretely, not too loudly, naturally, constituting a true surprise. It is already a very good performance and the fragmentation of accents has disappeared. Everything is more fluid. Don't tell me to go to hell like Alberto Sordi!
Thanks to Simone for making this piece audible for me. Also, I wanted to say that perhaps the recording does not do justice to the intentions, flattening the sound levels. Thanks
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nancy
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Reply 36 by nancy
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pianoexpert wrote:
I like it much more. Compliments. However (now you're going to tell me to go to hell!) I would still venture further. Sometimes I say: "let's try to go the other way... beyond the border... one always has time to return within the limits." I would insist on creating the three sound planes much more decisively: background, the melody of the right hand; second plane, the bass; and very foreground, the central theme of the chorale. Now, I believe that to create this, one must start much more softly without fear that the notes of the right hand escape, which should sound in a whisper. These, supported by the bass, await the surprise of the central theme of the chorale which remains in the foreground. To not fear losing the notes at the beginning of the piece, it is advisable to use the natural weight of the fall of the fingers. The hammers reach the strings with decisiveness but without any force—just enough to produce the sound, with equality (without straining to think too much). The pedal helps to create a distant cloud sustained by the light of the bass. And it is the central theme that plays really and concretely, not too loudly, naturally, constituting a true surprise. It is already a very good performance and the fragmentation of accents has disappeared. Everything is more fluid. Don't tell me to go to hell like Alberto Sordi!
Paolo, you are touching a sore spot.... you don't know how much I study to achieve this, but it doesn't happen... the piano "plays too much." And even considering the flattening due to the recording (so much so that live many more dynamic nuances can be heard), the piano refuses to be fully tamed! I recently had it regulated regarding the pianissimo issue and it has improved, but it goes no further.... it doesn't whisper. The basses of the piece whisper beautifully in digital. It all remains in my intentions and inside my head.
You don't know how much I thank you for listening to it and anyway it still needs to mature because the stability of the new transition is a little uncertain etc etc.... but this thing that I cannot do with my friend Seiler is destroying me...
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nancy
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Reply 37 by nancy
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Paolo... you're asking me not to tell you to go to hell....?!?!?!? I'm the one who has to ask... forgive me if I still bore you, but I would really like to achieve the result that Paolo describes.
i have just finished studying it. I am not posting the recording because it flattens these kinds of nuances too much. I would like to rely only on my ears. I managed to obtain the whisper of the bass... the right-hand part especially when it focuses on the mids "still sounds too much" and it was almost impossible to make it more soft....but I had to go through hell to obtain this result and play it like this...
i remember that when I studied at the conservatory on many different Steinways (I studied mainly at the conservatory and not at home spending hours and hours specifically on Steinways... so I have truly known many and beautiful ones) I didn't have to make all this effort to obtain this type of sound...
but this morning I saw that even if with enormous effort I can pull that sound out of the Seiler....at least in the extreme registers and not its mids....
Simone was telling me that it absolutely needs to be tuned especially in the middle register....besides timbre, does intonation affect the piano's response in the pianissimo? The regulation of the hammer-string distance has already been done and pushed to the limits and has resulted in greater docility and agility...
in short, can I ask my Seiler for one more effort to become even more docile?....or can it not go beyond that....since it cannot transform into a Steinway?
In fact, I suspected a bit of this. ...I'll have to come to Sicily. All jokes aside, you are naturally very talented and your touch is measured. Next time the technician comes to tune, have them check the regulation and also the repetition spring (which can be weakened if the escapement is 1 mm - 1.5 mm from the string. Not too much hammer drop and let-off at 1.5 cm from the strings. If the spring is well-adjusted, the hammer, after the let-off, must rise "sharply," but without bouncing. Hammer voicing: a small pianissimo cushion should be created on the tips of the hammers about 1 mm deep, no more! On the high notes, the tips will strike and fight after the cushion has been created. Anyway, your piano's timbre is very good. It just needs to be a little more "softened" without changing the general "tone." The "una corda" pedal should also be checked. In any case, don't pay too much attention to "remote opinions." Everything gets filtered. In your case, I renew my compliments because you can feel that there is strong research and excellent study behind it....and also an excellent result! (if only I had all this desire to study!!!) Bye
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nancy
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Reply 39 by nancy
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i will never stop thanking you!!!
si, i want it ten times over..... and I suffer when I am at work far from my music because I have so much to study...
I am only just reading your last post....after having written mine. In fact, opinions vary. I confirm what I said. And then, look, your Seiler has nothing to envy other great brands. I owned the 180 specifically and I tell you it was very good. Another solution: try closing it all up when you play. Anyway, later on, we don't risk "getting tangled up" with remote listening. I firmly believe that live sound is indeed rich in more tonal nuances.
