F. Chopin Preludes Op. 28

Antares I am downloading them to my cell phone. Now I am in Rome. Upon my return, I will listen to them in the car via Bluetooth

ahahahahaha okok but you're not missing much they didn't turn out very well they are little more than a reading

I listened to Op. 28 No. 2; in my opinion, the weakest point is the left hand, too "monotonous" and often rhythmically limping. It is probably an older recording compared to what I have heard of Liszt. There is always room for improvement, everything can always be perfected

it's not that I've only read it, I should record the first 7 all over again.... when I have the time hahahahahahaha and when I have the piano free, I mean.... I don't think it's older than Liszt, on the contrary, it's probably more recent but I had read them a couple of times at the time

Yes, I perceived that you were still very attached to the notes, so it is useless to make observations about the pieces. In any case, if I may, you have a bad habit that I also had and that they made me stop. You tend to take your hand off the piano when it's not playing to rest it on your leg; besides being unsightly or, rather, "not very elegant," it can create problems when you have to return to playing with that hand. Try to pay attention to it and correct the problem.

TheSimon wrote:

In any case, if I may say so, you have a bad habit that I also had and that they made me stop. You tend to take your hand off the piano when it is not playing to rest it on your leg; besides being unsightly or, to put it better, "not very elegant," it can cause problems when you have to return to playing with that hand. Try to pay attention to it and correct the problem.

mmmm I hadn't even noticed ahahahahah these are things I do automatically.... I'll see what can be done

Hey, take it as advice from a friend... Then maybe if you want we can talk about other things too.

ok..

actually Marta23 was right, I had recorded the preludes almost a month and a half before Liszt this winter I had completely forgotten....

It is always pleasant to listen to a young person who loves Chopin and especially the Preludes. Fine, you have chosen those that are considered the least difficult, and the intention to study them all is laudable. I take the liberty of advising you now to read No. 15, the famous "water drop." It teaches much, especially the "tense cantability" of the right hand which should, in my opinion, be more of a protagonist. One should not think of exaggerating in the "forte." A greater "imbalance" is in favor of the legato, which in Chopin's cantabile must be particularly "eloquent." Rubinstein, if we could have listened to some of his encores up close, we would have discovered that he did not play "piano" at all with his right hand, even when it was written "piano." Once he placed his right hand on our shoulder, explaining in a "macedonia" (jumble) of languages how the arm should gravitate over the fingers. An impressive weight! Despite what is said about "weighing on the keyboard" not being necessary. It is true, it is certainly not the weight, but the speed with which the hammer strikes the string that determines the sound intensity... but the weight generates total contact with the bottom of the key... almost making the finger pressure work more than the fall. As if on a single large string! Naturally, the left hand, as Chopin himself used to say, is its "conductor" and it determines, with its intensity, whether we are in piano or forte. Try it to believe it: play a small fragment with the right hand sincerely cantabile, almost forte, and the left hand light = piano. Then play the same fragment with the right hand sincerely cantabile and the left hand strong = forte.

What do you think? Anyway, compliments on the effort and ad Majora

pianoexpert wrote:

It is always pleasant to listen to a young person who loves Chopin and especially the Preludes. Fine, you have chosen those that are considered the least difficult, and the intention to study them all is laudable. I take the liberty of advising you now to read No. 15, the famous "water drop." It teaches much, especially the "tense cantability" of the right hand which should, in my opinion, be more of a protagonist. One should not think of exaggerating in the "forte." A greater "imbalance" is in favor of the legato, which in Chopin's cantabile must be particularly "eloquent." Rubinstein, we used to listen to some of his encores up close and discovered that he did not play "piano" at all with his right hand, even when it was written "piano." Once he placed his right hand on our shoulder, explaining in a "macedonia" [mixture] of languages how the arm should gravitate over the fingers. An impressive weight! Despite what is said about "weighing on the keyboard" not being necessary. It is true, it is certainly not the weight, but the speed with which the hammer strikes the string that determines the sound intensity... but the weight generates total contact with the bottom of the key... almost making the finger pressure work more than the fall. As if on a single large string!. Naturally, the left hand, as Chopin himself used to say, is its "conductor" and it determines, with its intensity, whether we are in piano or forte. Try it to believe: play a small fragment with a sincerely cantabile right hand, almost forte, and a light left hand = piano. Then play the same fragment with a sincerely cantabile right hand and a strong left hand = forte.

What do you think? Anyway, compliments on the effort and ad Majora.

ahhh, I don't have weight problems anymore..... in fact, if anything, I have the opposite problem.... but I don't lose speed.... it is a heavy support rather than "strained," let's say a bit like Cziffra (too bad he only has the support and not his technique); regarding the preludes, I have a half-idea of doing them all with veeeery much calm; I had read the 15th a long time ago.... but now I am obsessed with the 16th..... it is beastly, it simply requires terrifying speed and control....