Franck prelude chorale and fugue

It had been a long time since I last listened to Franck, and I should preface that I only listened to the prelude of your interpretation.

In general, I liked it, but it seemed a bit too dry to me, particularly at the beginning (the reprise was already better). I sense an excessive rhythmic "squareness" in the passage between two and a half minutes and 3. At 3'37'', I feel a desire for more sound.

Anyway, one can tell that you have worked very hard on it, well done.

If you like Franck, I suggest you also listen to works such as:

Premier Grand Caprice Op.5

Or else

Prélude, Aria et Final -- César Franck

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Thanks Frank!.. indeed at the second, second minute and a half I fall into the game of chromaticism in the bass and I render it with too much restraint....

Yes, I knew them.... even a few days ago I was letting myself be carried away by the (strong) temptation to start Prelude, Air and Finale. But first I must manage to finish with the Choral Prelude and Fugue which still doesn't come to me as I would like....

Technically it seems to me that we are almost there, in some passages that fluidity of someone who is truly "master" of the piece is missing.

Well done Nancy!

ttw wrote:

Technically it seems to me that we are almost there, in some passages that fluidity of someone who is truly "master" of the piece is missing.

Well done Nancy!

thank you....especially for having listened to it...

si technically I have to clean it up constantly....having very small hands doesn't help.

But the biggest problem is mastering it also as memory because it is difficult to find the balance between muscle memory and full musical awareness. as soon as I allow myself any kind of automation, I collapse in one of the parts and this makes me nervous and stiffens me and creates tension, which is why I often play (the fugue) at speeds not quite suitable for my hand in order to maintain a certain fluidity.....I am starting to get discouraged...

nancy wrote:

.....I'm starting to get discouraged...

I would let it rest for a bit; pieces mature even without playing them. Technically you are almost there, and you must take into account that it is one of the most difficult pieces to play of a certain aesthetic. It goes far beyond the diploma... even if potentially it was among the elective pieces in the old system. Whoever played Franck made a lot of "sacrifices" in other groups... so...

Chopin wrote:

I would let it rest for a bit; pieces mature even without playing them. Technically you are almost there, and you must take into account that it is one of the most difficult pieces to play within a certain aesthetic. It goes far beyond the diploma... even if potentially it was among the elective pieces in the old system. Whoever played Franck made a lot of "sacrifices" in other groups... so...

now I am breaking it down into phrases and re-studying it in separate parts for memory. then I will leave it for a few days....it's true, it is difficult, but it is so, so beautiful!!!!! too bad Franck is played so rarely. even the great capriccio is wonderful but it would be suicide for me to try to do it!!

thanks chopin

Dear Nancy, thank you for the compliments on my Beethoven. Your Franck is stupendous!!!! You have a lot of control over all the difficult passages and you are very rigorous with the tempo.....if I may...you could afford more flexibility (excuse the repetition!) I would say that this would give more "eloquence" to the piece in some parts. I will listen to it again. What I am saying is not meant to be a criticism but just a way of feeling. You are very good!!!! I suffer from memory issues too!!!! But after all, learning by heart truly means possessing the piece. Let's remember the French. Learning by heart translates as: "par coeur" ...in the heart!!!!! How beautiful!!! Don't you think? Anyway, one never finishes learning and Music is beautiful for this reason too. Congratulations again!!

your beethoven truly deserves many compliments!! and i am sure the concert will go very well.... even if there were slips due to memory lapses, it will be very moving anyway.. moreover, the program is also very interesting!

thanks for the things you tell me... regarding Franck, having acquired more fluency and confidence in these last few days, I am able to express it better and make it less rushing from a rhythmic point of view.... in fact, I am very excited!!!!!!

i'm caught up in the enthusiasm, I am exploring all of Franck's pieces to choose another one.... the most beautiful ones are those posted by Frank.... but also the op 3 elegies (even if less "explosive" and more straightforwardly technical than the capriccio) and the four transcriptions of Schubert's melodies op 8.... would be worthy!!!

He was a composer I didn't know at all and I liked him very much! Just imagine what a discovery... (and how many others I will have to make)

pianothor wrote:

He was a composer I didn't know at all and I liked him very much! Just imagine what a discovery... (and how many others I will have to make)

look, I adore him.....and even if historians say they only deserve the major and later works written once they had emancipated themselves from paternal expectations....I also like the more youthful ones. it's a pity there are very few recordings and that the scores are difficult to find.

As far as classical music recordings are concerned, I recommend a program called Spotify; it is full of them, and above all, it helps to always discover new authors! (It is a service available for a trial for the first month with a free subscription, then you decide whether to subscribe or continue for free with advertisements) There is even a mobile application so that as a good musician, you have (good) Music always at hand...

PS: I am not a spokesperson for Spotify

nancy wrote:

and the scores are difficult to find.

Even on Petrucci?

Let's retrain our ears

Chamber music should also interest pianists!

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So let's close the picture

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Organista94 wrote:

So let's close the picture

I would say: let's broaden the picture

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As a pianist, I love chamber music and I love Franck's sonata for violin and piano! It's a pity that other instrumentalists are sometimes a little elusive. They have different timings compared to us pianists. I find the violin sonata very challenging and I have never really approached it. I would very much like to play with a violinist, perhaps one patient with my many commitments. It is my favorite instrument. When we try to "sing" on our instrument, we think exactly of the legato of the violin and strings in general, instruments closer to the human voice! The symphony in D minor and the numerous organ works are also beautiful. Thank you all again for spreading the word. Thank you again to Nancy for her interpretations and compliments on her enthusiasm!!!! It is so rare these days!! Hearing a person "electrified" by Music is wonderful. Good Music to everyone.

P.S. Thank you Nancy for the encouragement. I hope to play my best. Thank you

I hope not to cause damage in many senses.... I wouldn't want to overload the post .... Paolo's words were perfect to conclude this review with great wisdom and elegance, so I apologize if I exaggerate... I promise that afterwards I will stay very quiet "listening" with my mouth sewn shut....

in this beautiful picture that popped up regarding Franck's music, his symphonic variations are missing....

https://youtu.be/VufaQxJdjq0

the performance is wonderful, among other things....

also, I would like to thank you for the ideas you gave me for searching for scores and recordings....

...come on, it's not true that we don't listen to chamber or symphonic music....

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nancy wrote:

...come, it's not true that we don't listen to chamber or symphonic music....

...it was intended from an executive point of view"

No harm done, Nancy! Your words ....and your notes are always measured and appreciated. We had rightly forgotten the symphonic variations so dear to Cortot and others. The Great Cziffra... truly always great... even if detested by Rubinstein. His great virtuosity was somewhat decadent and astounding. And Rubinstein, who already presented a "modern" reading in opposition to the recent "Liberty" interpretations of Romantic music, did not approve of it. In reality, Cziffra knew how to well distinguish pure showmanship from the measured piano playing of the '1900s. I remember specifically at the Aula Magna of the University of Rome a dry and balanced Beethoven. When he wanted to, he never exaggerated... then perhaps to finish, he would play, with great ease, some of his almost unplayable transcriptions! A great figure of piano music!!!! A magnetic figure of the highest vibration!!!!