in the spirit of my current showing-off-all-the-time mode/mood, here -- six months after piano got tuned -- are the pieces i am "teachin" myself (bad habits and all)
i. satie gnossienne no.1 (super-easy finger-wise but there's that odd why-is-this-harder-than-it-seems tweak satie always nips in)
ftb dr vick asked from some satie!
ii. bach rondeau from orchestral suite no.2 arr. e. markham lee (easy except for this bit i have got wrong so often my fingers have learnt the wrong)
ftb i really like it and can basically play it correctly and nicely (except when it goes wrong!!) -- the only ENTIRELY NEW PIECE i learnt to play OK since the piano arrived
iii. chopin prelude in d flat (under my fingers from 30 years occasional playing except the little florid twiddly bits which have gone jellied with age -- and maybe i cd never do em that well, tho i played this in public at least once)
ftb i did the heavy lifting on this years ago -- weird thing i don't recall the learning process of ANY of these pieces i can play which iare so obviously beyond my current reading skills!
iv. the CAN CAN by jacques offenbach (really quite easy but currently beyond my specific motor skills)
ftb i am RUBBISH at keepin time (i go all hem hem ROMANTIC RUBATO at the hard bits, and back over myself when i make an error): i need to get the discipline of JUST KEEPING GOING
v. debussy clair de lune (under my fingers with some clumsy bits -- again i've been playin it for 30 years but never really worked at the bits i stumble through)
ftb cf iii. really -- it's a nice piece to play which everyone knows
vi. magnetic rag by scott joplin (the kind of music i was never good at and never worked at: sustained mechanical rhythm i am just SO BAD AT)
ftb it wz a stumbling block when i wz 17 (and i really like the jauntiness and lopsideness)
vii. berceuse from dolly op.56 by fauré = the listen with mother themetune! (easy enough formally, but has distinctly testing dexterity element i wd like to crack)
ftb dr vick put in a weird request by text whether i had it on CD (i didn't) and i found it in the sheet-music shop the same day
viii. schubert klaviersonate op42 a moll (really pretty hard but not i think beyond me WITH A COUPLE OF THOUSAND YEARS PRACTICE)
ftb i studied it for a-level music in 1977 and have always loved it -- there's bits of it remind me of my mum's parents' little music boxes (schubert is a composer who effortlessly delivers passages i love followed by passages that seem to me really straight and dull and obvious, like he was afraid to throw away the structure even when it was LAME)
ix. bach fugue no.1 in c (so intricate! is it the hardest of the fugues? i feel getting this down would be a real achievement)
ftb mastering seems like a good solid milestone to judge how i'm doing this year (i am nowhere near mastering it, though page one -- the easy page -- has only a couple of dreadful hesitation/scrobble-it-up points now) (page 2 is 1xBITCH)
x. chopin minute waltz (just fun and fast -- rhythm probably the problem, and at the moment when i run both hands together at speed they start playing at DIFFERENT speeds which is not great)
ftb it wd be cool if i could just sit down anywhere and play this: IT'S JUST 1XMINUTE long -- HAHA THO more like 15 the way i am currently playing)
xi. o polichinelo from prole do bêbê by heitor villa-lobos (sounds impossible, actually very deceptive -- the trick will be getting the SHORT bits i can do fine jigsawed together at speed, which will requires LOTS of QUITE BORING practice) (poor old downstairs neighbour)
ftb it SOUNDS way more fantastically ambitious and difficult and impressive than it actually is (i think)!
xii. webern klavierstuck op.post (trick is getting yr fingers to do really unintuitive stuff -- they have harmonic training which is hard to shake off -- which i thini means getting yr mind to grasp the structure)
ftb i adore webern and genuinely think this piece is in reach
xiii. berg klaviersonate op 1 [very extremely hard - esp.at the speed i have it on CD! -- tho really not like virtuoso hard anywhere, mainly just hard to get yr mind round why the notes are where they are]
ftbi am not really AT ALL a fan of this kind of post-wagner WTF music so i thort it wd do me good to explore some
June 22 2007, 09:44:49 UTC 4 years ago
June 22 2007, 09:59:38 UTC 4 years ago
June 22 2007, 10:02:12 UTC 4 years ago
June 22 2007, 10:23:04 UTC 4 years ago
June 22 2007, 09:46:05 UTC 4 years ago
June 22 2007, 10:14:51 UTC 4 years ago
Am v. impressed you can play the original, even with scrobbling breaks etc.!
June 22 2007, 10:27:07 UTC 4 years ago
I am rubbish at classical music and only really know the Satie from your list, but I do love it lots. Well done! :)
June 23 2007, 11:03:29 UTC 4 years ago
I went to a an ok-ish piano recital last week by Philip Mead, he played Jonathan Harvey work but for me the highlight ws Chris Dench's piece. That one ws just a labyrinthine work but I felt very engaged. Then when it ws over it ws 'gone' again.
June 24 2007, 07:16:47 UTC 4 years ago
June 24 2007, 04:57:41 UTC 4 years ago
Trouble is that the legitimate classical pianists (well, of the four I heard) always got all expressive with the rhythms and therefore always ended up inferior to the Moroder-Summer version.
June 24 2007, 07:12:07 UTC 4 years ago
my theory abt classical rhythmic freedom is that prior to recording technology the level of rigor achievable was simply less -- drum-machines (then known as metronomes) existed, but were never used during actual performance -- and public ears were i think just easier abt the amount a beat moved around (the exception being the MARCH, and dance-music as written for actual real dances, as opposed to "quasi-dance" art music*); once recording technology emerged, strictness of rhythm was a feature of specific kinds of music considered in "opposition" to classical (jazz and danceband** generally), which sat much more happily with the recording industry anyway, and classical tended to exaggerate its "freedom" in reaction to this***
*ie sousa and the strausses as opposed to chopin say, or brahms (actually C&B wrote at the time for actual real dances, but their music in aftertimes lived on largely in concert halls
**the sousa march is a direct ancestor of ragtime
***the stravinskian wing of modernism, interestingly, or symptomatically, pushed in the other direction: IIRC igor used the phrase "sewing-machine music" to crystallise how his own work ought to be performed; he was fascinated by the textures and effects and general shift in audience sensibility that recording had brought with it, as well as oedipally hostile to 19th-century habits
June 26 2007, 20:35:08 UTC 4 years ago
It isn't a matter of strict rhythm so much as of pulse or swing, and my guess is that pianists with pulse/swing are what you want with Chopin, 'cause he liked to fuck with counterrhythms. Or that's my vague impression. Haven't listened enough.
June 26 2007, 20:49:14 UTC 4 years ago
June 26 2007, 20:59:01 UTC 4 years ago
June 26 2007, 20:51:06 UTC 4 years ago
I want you to <s>glum</s> come
it is a bit glum to be foisting on the world (or myself) very oftenJust think of Donna Summer whispering "I want you to come" as you're playing it!
When I read Peter van der Merwe's Origins of the Popular Style several years ago I came away with the impression that he considered Chopin the 19th century composer with the most impact on 20th century popular music. I didn't know the music theory - or the material - well enough to evaluate this, however. (Have you read the book? It's a prehistory of modern pop, so he gives us the basic roots (both African and European) of blues and then talks about how "parlor music" worked its way into the mix. Chopin's influence would be on parlor music.)
June 26 2007, 20:57:01 UTC 4 years ago
Re: I want you to <s>glum</s> come
i have read it -- i obviously need to again cz i totally forgot this element (let alone that claim)!thanx to my granddad i have a TON of this sort of parlour music tho what i have is a bit random probably
June 26 2007, 21:12:17 UTC 4 years ago
Re: I want you to <s>glum</s> come
I don't know if it was his claim, or just something I concluded based on what he'd written.What did you think of the book? I found it fascinating, though since I don't own a piano I was lost whenever his staffs had more than one note going at a time.
Another thing I recall was that the direction of a lot of music (classical as well as popular) in the 19th and going into the 20th century was to liberate melody from harmony, which didn't mean that melodies ignored the underlying chords but that they stopped being required to lead you from one chord to the next. Or something. Maybe I'm misinterpreting what he meant, and it's something I would not notice. He gave as examples "Mack the Knife," a basic boogie woogie pattern, and the second part of the "Washington Post March." He could have cited "Man Who Sold The World," if he'd thought of it.
June 24 2007, 07:23:52 UTC 4 years ago