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I feel that pianoloverus' unsolicited criticisms make it feel unsafe to post one's recordings in the ABF, which is a most unfortunate development. I think that those of us who find that unacceptable should speak up here to take a stand against that kind of behavior in this particular subforum.

I agree TW! I have made a recording of my current progress with Traumerei, but after reading the posts from Pianoloverus I thought, "do I really need to set myself up for unsolicited critisism"?. I'm relatively new here and I thought this thread in particular (along with other study group threads) was maybe a place where we could post our PROGRESS on certain pieces not a finished e-cital piece.
When I have my piano lessons every week, my teacher always reminds me at the beginning that it isn't a recital-that we're working together to bring a piece to my satisfaction-AND that a piece can always be better.

I know that posters can say what they like here, so I am a little forewarned - BUT I'm here to learn with others who(I thought) were in a relatively similar position as I am.(Returning to piano and discovering pieces for the first time). I hadn't played the Shumann seriously until a couple months ago. I had listened to the Kinderszenen, liked the pieces so wanted to learn them.

What interested me in this thread was that I have been learning some of these pieces. I don't have others around me who share the same interest in classical piano, so this seemed ideal to me. I guess that's why I joined PW in the first place.

Sorry for the rant, but like you said - I think other ABFers need to voice their opinions HERE.

CMOHR

Sorry for interrupting. I've been reading this thread for a while in silence, but just can't go on like that. Can you go barking on each other somewhere else? It went far off from constructive criticism and is totally jeopardizing the original purpose of this thread.

M.

Rather than destroy what might otherwise be a fairly decent thread, I'm deleting all of the posts containing petty back and forth bickering. For those who enjoy such things, you're welcome to PM amongst yourselves ad infinitum.

Guys,
I agree with Mati. I looked into this study group to start looking at which of these works I could start considering to begin working on. After reading some of these posts, I'm not sure I would ever post any of my playing here. The ABF is a very friendly place, and all of the posts in the comments section of the Recitals are frank, but non mean spirited. Maybe those who will be participating in this goroup could be off to a new start Look forward to your progress.
Dot

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I totally agree, I guess when HomeInMyShoes posted his original post he wasn't seeking criticism either, there's still one unsolicited critical post that's not been deleted though.
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I feel somewhat guilty for starting this mess.

Criticism is good as long as it is constructive and doesn't go petty which it seemed to have done a bit previously, but I personally didn't take anything anyone said as bad criticism towards me. We are all at different points on our journeys and there will be varying levels of doneness in anything we record. As with all creative and design endeavors, I don't think a piece is ever really done. It will always change and reformulate itself for me. Listening to all recordings is an absolute treasure trove of ideas for me when it comes to interpretation.

So I am hopeful that this thread can survive and we'll hear everyone's attempts at these pieces and discussion on suggested tempos, interpretations, and all other things related to opus 15.

Maybe I'll get a recording of 4 and 8 up for you guys. I'm supposed to have those ready for the Schumann recital at some point.

Okay, I'm almost happy with no. 4. I have to make one caveat in that I haven't been able to get the soft pedal to actually work on my Roland so there's unfortunately no una corda work and I have to make the first p too loud. But it's reasonable, although I was having some slips today, so I need to go work slower again. No. 8 is a total mess and no where near what I would call complete. I'm still fumbling around with the fingers a bit and, although it has gotten a lot better, it is still too slow and sloppy, even though I did attempt to up the tempo a bit to record. Listening, it really does need some crispening up. It's a little too drawly to me. I do appreciate any comments on anything especially dynamics and pedaling.

Schumann opus 15 no. 4
Schumann opus 15 no. 8

I thoroughly enjoyed no. 4. Lovely playing. Only thing I can think of is possibly a bit more legato and I'm wanting to hear a bit more of a "lift" at the end of phrases. Otherwise, great! A digital makes it easy to get a great recording, unlike my rotten setup.

No. 8, as you say, is a work in progress. I hear a great interpretation coming out, though so I think you are on the right track. The best thing to do is to play through it and note down every spot you have a stumble. Then, play each spot 5 times over till the actual trouble area is perfect. Then, back up and play into it about 5 times. This works wonders for problem areas for me.

Great work, and thanks for sharing with us!

Wow! Nice playing - I think you've really captured the feeling of both pieces. Wrong notes here and there are all part of the polishing process, I think.
I've got alot of work to do to get mine up to speed.

I think my recordings are going to have to wait until after the Nov. recital. (it will be my first so I'm a little nervous)
I also don't seem to be able to convert my recordings that I did on my mac to MP3. Boy, I need alot of help.

Keep 'em comin'!

CMOHR

CMohr, if you have iTunes it ought to be able to convert to mp3. If you have a Mac, you will have it by default, of course. I don't use Audacity to convert. I export as an .aiff (Apple's equivalent to .wav) and convert to mp3 in iTunes.

Thanks a bunch! I'll try that and see how it goes.

CMOHR

No problem! One other thing; you may want to adjust the conversion settings in iTunes preferences if you desire a high bitrate. Then, right click the .aiff that's in your library and select "Create MP3 Version".

Was reminded how a MIDI diagram provided the means to understand the genius of Schumann’s imaginings in his mesmerising "Falling Asleep" ... Opus 15/12 ...
somebody might be interested in my take ... many moons ago.

"FALLING ASLEEP Kinderscenen Opus 15 by Robert Schumann

Bless those BBC radio announcers when they follow up the playing of a piece of classical music with it's opus description.

Just such consideration stunned a young architect with his first hearing of Schumann's "Falling Asleep" - Kinderscenen Opus 15.

How had Schumann managed to capture this illusion of falling asleep? May I offer an architect's view. Don't shoot the pianist!

Schumann opens the first 8 bars with a repetitive punctuation of B-notes (3rd in the key of G) which can be seen as an horizontal line dividing the conscious from the subconscious. We are awake above the B-line and asleep below it. We nod off when our awareness of this line is dissipated.

The composer allows the lower subconscious theme to spasmodically break through the B-line in short-lived moments of consciousness. Schumann's score carefully sustains the
repeated right hand B-notes to force the upper F sharps and keynotes to bubble through. One can hardly keep one's eyes open.

That first drowsy period in falling asleep is often beset with the invasion of kaleidoscopic reruns of the day's activities. A change of key in bars 9-16 introduce repeated flashes of fanciful images. This statement enthusiastically floats an octave above the original B-line note (now seen as the 5th in the key of E) but collapses in stepwise motion to forewarn of a passage of images from the nether region of dreams and ominous nightmares.

Bars 17-24 use a disturbed movement of the left hand to convey haunting scraps of disjointed reflections which however rouse the right hand to climb to the magical B-line at bar 20. The next four bars however see a vain effort to break through this line into the realm of consciousness.

Bar 25 restores the original key and initial left hand note pattern which enables a breakthrough into brief moments of consciousness with the return of the wide-awake F sharp notes.

The B-line however can't be sustained and at bar 27 the line wobbles for the first time moving one semitone up to C and then back to B at bar 28. The final collapse of the line to A comes a bar later during the ritardando and shortly heralds sleep as the head finally nods over the keyboard with the sounding of the closing left hand A."

btb - that is absolutely intriguing!

The diagram means nothing to me - the architect's view really makes me look at the music a little differently. Having read this, it almost makes me feel as though I should have known it - very descriptive!

Thanks for sharing!

CMOHR

That's pretty cool. It's a really easy way to see the patterns, the slight changes and flow.

btb, I've always wanted to ask where you get those diagrams.

Well chaps,

If the MIDI diagram of "Falling Asleep" tickled your fancy ... maybe you might like to see how "Traumerei" shapes up.

From the diagram you will see that the 32 measures (with the repeat) ... can be split into 8 groups of 8 measures as follows:

1-4 Theme A
5-8 A1 variation
9-12 Theme A
13-16 A1 variation
17-20 A2 variation
21-24 B variation
25-28 Theme A
29-32 A3 variation

Note that the As all start on the keynote F
However, while Theme A rises to "F ", A1 and A3 rise to "A" ... and A2 to "Eb" ...
Whereas B rises from "Bb" to "Bb"

Once you are clear on the repeats
(3 off Theme A, 2 off A1 variation, and 1 off A2, A3 and B)
it’s just a matter of polishing up each group and then combining for the finished product.

Hi Horowitzian ...
The MIDIs are a labour of love taking about an hour to transcribe each page ... but after 50 years "the bases are loaded" ... for a quick print and prima vista play of any masterpiece ... sheer delight to revisit "Traumerei" ... previously had added Clementi Sonatina 36-1 (on one of the forum threads).

OK...I've been working on these pieces, too. They are among the very first classical pieces I've ever played, and this is the first recording I've ever posted. And my piano needs tuning. And my damper pedal needs adjustment. OK...so ends the "why this recording ain't so good" disclaimer...

Schumann Op 15 No 1

So...when I listen to this, it doesn't sound like it does in my head while I play. What I hear starkly is an imprecision in my overall control.

Critiques and comments welcome and encouraged!

It was quite pretty Larry. Wrong note at bar 9, the second double-note in the right hand (I think, could be piano tuning, but it sounded off). I also think you could be a little slower in measure 13. There's a slight rit. in measure 12 and then a long ritarando starting in measure 13 until the main theme comes back at measure 15. But it really was quite pretty and had a lot more interest than my playing does now (to my ears). I need to go back and deconstruct the tempo a bit.