Claude Debussy - Clair De Lune

beautiful and delicate. one single observation from minute 147: I would increase the volume more to have more volume at the end and play with more anger and fewer final rubatos, and once maximum tension is reached, I would play the first arpeggiated chord at a lower volume (especially the first and last note).

Ue, take them as if they were said by a ditch digger!

lozappatore123 wrote:

from minute 147 I would increase the volume more to have more volume at the end and play with more anger and fewer final rubatos, and once the maximum tension is reached I would play the first arpeggiated chord at a lower volume (especially the first and last note).

I disagree, we are in Debussy... Brilliant but never graceless. He doesn't seem to me like an author who gives in to anger, at least not in a "Clair de Lune". As for the rubatos, the rubato on that page is indicated by Debussy himself... Different perspectives...

I like it very much! Brilliant, indeed, and with the delicacy that a "Moonlight" requires.

Interesting, also because I can make a comparison with myself since I play it

So, in my opinion, the part that comes second (the arpeggios) you should play them less articulated, more glissando let's say, because in my opinion they are a bit too defined ^^ then, the crescendo part that ends with the descending scale of thirds is a bit too loud and fast in my view. Oh, and when you perform the chord part, I think you should put more "soul" into it and play them less mechanically!

Anyway, really well done, impeccable performance! XD

Ps. Take it with a grain of salt, I am still a fourteen-year-old xD

Excellent performance!! Clear and lucid. Great touch.

Naxx wrote:

Ps. Take it with a grain of salt, I am still a fourteen-year-old xD

Without taking anything away from your analysis, the only thing I agree with you on is this last sentence. Not to belittle you, but just to say that often an innate sense of understanding music is not sufficient at all. One must know and internalize, know the composer, and mature through life experiences, and for this, time is needed. At 14, one is still very immature. You will see that if you have the chance to record yourself now to listen back to your recordings in a few years, you will notice that most of the choices you made at the time will have changed and you will want to perform that piece again with a different perspective. Having one's own way of looking at piano interpretation is a step forward, but we must never forget the stylistic limits which, in this interpretation, seem to me to be well considered and respected.