Replies

  • Thank you both for your inputs. 

    Bob, the sudden dynamic changes are very important here. Softening the changes and the dynamics would make some sections sound out of place.

  • Not right now, I will be away from my computer for the following two weeks (this is why I couldn't offer a proper score and a more comfortable rendition). Your best bet would be to lower the bass with an EQ, to make it sound slightly more clear.


    Raymond Kemp said:

    Spiros,

    The left hand seems heavy (loud) against the right. Is there some way you can adjust it a little?

  • Those "distractions" make up the music Saul. I was not going for a calm waltz here (not saying there is anything wrong at all with a calm waltz). 

    The aim was a light character, with some darker spots,  with powerful, sudden bursts, and a pompous/glorious epilogue. 

    The accents in the left hand define a new theme, which is in fact restated later on. The balance between the hnads is completely off there though, so it kinda obscures the theme playing ot top of it, but that's just a recording thing, not what I was going for. 

    There is a reason for most things in there. I actively thought about why anything goes anywhere, trying to produce something at least coherent. You wouldn't dance it in your wedding, or score a girl with it though. 


    Saul Dzorelashvili said:

    All those accents the piano, forte, create a distraction from the music itself. I think that you should let the music just be without all of those so called 'beautifications' in my opinion they are taking away more then they are giving. Let the one line of the music flow from a to b without them, and you'll see a better piece of music.

    My 2 cents...

    Scherzo
    This is a scherzo. A trio will follow after easter.  I don't have enough time to properly tidy up the score, but it should be ok. Tear it to pieces,…
  • Hello Spiros,

    Nice piece, well done!

    I have nothing against the dynamic changes and the accents. In fact, I think these are essential for this piece. But here and there, I think there is a need for some adjustments. For example in measure 19, the R.H octave is too weak ( in spite of the fact that it is market with an accent. There are more of such cases. It may be a recording issue as you pointed out, but I think that it is also partly due to some over- pedalling.The sudden changes get drown by after-reverb, unless you do a very careful pedalling. Ms 90 and 91 are quite blurred, due to the single pedal line. Just one remark on the harmonics of the first chord in ms 8 ( lower stave). It sounded it bit odd to me. It´s not a "resolving" chord as one might expect, but it is OK if you intended to write it like that. Otherwise it is a bit Beethoven-like as Fredrick pointed out ( which is really fine with me), although my very first association was the trio movement in Schubert´s sonata nr 6 ( but you develop your piece in quite a different way)

    Regards

    Johan

     

  • Thank you Johan.

    Yes that chord in ms 8 is intentional, Greg had also pointed it out, and, indeed, it "asks" for resolution, but I think it fits better to it, when thinking it as a whole. Although I should change that Dnatural to F, and make the left hand chord a Bb Dnat. Bb, for the shake of voice leading.

    The rest of the points you raise are tru, but are due to the render, which was very rushed, because I had to leave for the holidays, and wanted to get some feedback while gone. A real player should manage to play everything much more clearly. 

    My intention for ms 91-92 was to bring the theme to a loud, heavy peak (hence the octaves in the left hand and the thirds in the right), and instead of resolving that Bb to Eb, leave all the sound hang there, sustained by the pedal, and then go back to Ab (I have a tendency for that progression it seems, lol). I think it's best to have notes in the high range being sustained, along with the lower ones, so the pedal mark is for both bars. Plus, it makes everything sound louder, and as you bang harder, every string starts to resonate, which gives it a nice fullness :D . I believe that a real pianist could bang the right hand hard enough to get it through easily, despite the pedal and the left hand, although I should check it out myself.

    There are a few other things I noticed, like a third missing here and there, or some nasty clashes (Dnatural with Db) which I'll correct when I get back.

  • OK Spiros, I think we agree on most of the things here. Regarding the pedel sustainment in ms 91-92 ( and continuing in 93 and 94), I think you can leave it. Any good pianist will intuitively feel how to play it. If it becomes messy, he/she will resolve it in some way. It´s perhaps just due to my personal style. I am a bit allergic to blurring things with pedalling (but I admit that there are situations where it is required!)

    I just have an additional comment. This is about the pairs of sforzandi in ms 69- 74. ( the ones on the octaves after the cresc. mark). I would be inclined to replace the first sfz´s of the slurred octaves with a accent mark, since it appears to me that the strongest accent is on the last octaves. As it is written right now, it is difficult to see the difference.

    Otherwise again: nice work

     

    Regards

    Johan

  • I liked the piece. I hope the trio is as good. It was very Beethoven-like for me, too, without being something "useless, because everything has been said already at the time being". Small things here and there that kept it very fresh.

    The sfz beginning in measure 31 I would write somehow as a separate melody line, in a separate voice, maybe minim-crotchet with stems in opposite direction to the quavers. Just because that's what happens there musically.

  • I enjoyed listening--it reminded me of some of the ABRSM exam pieces.

  • A solid piece, I like it's clarity and it's satisfying to listen to. I'm looking forward to the trio. I, too, hear the "Beethoven" in it. It looks like it would take some strength in the hands to play, and not meant for my weak "beginner" piano hands. ;o)

  • thank you Janet. Indeed it has some challenging spots, I'm discovering them now on the piano. There is some hand clashing here and there that, although playable with some practice and smart finger management, should be kept to a minimum. But even your "weak" piano hands could give it a go, it would be a nice practice for your octaves (oh my, I tend to use them a lot, lol).

    Janet Spangenberg said:

    A solid piece, I like it's clarity and it's satisfying to listen to. I'm looking forward to the trio. I, too, hear the "Beethoven" in it. It looks like it would take some strength in the hands to play, and not meant for my weak "beginner" piano hands. ;o)

    Scherzo
    This is a scherzo. A trio will follow after easter.  I don't have enough time to properly tidy up the score, but it should be ok. Tear it to pieces,…
This reply was deleted.