Piano World Home Page Forums Our Most Popular Forums Adult Beginners Forum Rostoskys serious thread. (by request)

well wayne, guess the fillets were wasted on you. lol.
something very fishy happened to me today as well.

A friend of mine was having some re-wiring done.. when he went into his toilet he found a piece of brand new copper wire that had been freshly cut.... in his toilet.

He says to the electrician that in his opinion it was a discourteous thing to do, dropping off cuts down his bog.

The electrician tries to claim it wasnt him, and then changes his story to "it might have been me when i went to the toilet earlier" AND, then went on to claim he sometimes chews electric cable and accidently swallows without thinking.....

and that he may well have PASSED the copper wire inadvertantly whilst legitimately having a dump earlier....

yeah righty oh then.... thats explained it to everyones satisfaction.....

Thanks everyone for listening to my recording and for your kind comments. maybe i won't submit it to the recital after all though due to the poor quality of the recording.

those are some disturbing fillets....as is the toilet copper.

Indeed, it nearly made my "rostoskys issue of the week" list., but fell short due to a tupping error.

My issue of the week this week is an extremely big issue that I ( and others) have been recently affected by.

I liked burger kings burgers, like really liked them, and now both they and tescos are taking all steps to make sure these products DONT have horse meat in them any more, I fear that I may not like the unhorsemeat new burgers.

After all I have had a year of eating them and getting totally addicted to the taste of horse meat and gerkins, albeit unknowingly.

I want my equine burgers the sooner the better.( with fries.)

A tupping error?

Gracious, that could have some very serious consequences!

Love Shostakovich, love Han-Na Chang… amazing music:

Not the BIGGEST issue this week Rossy

Would you like a drink with those fries?



Morrisons strikes again!

If peeps are having their own weekly slot, then this is mine Saturday night, with one of my Fave sitcoms......... bare with me folks, it's worth watching

Good morning, all. How are you both?

I fell behind schedule while I immersed myself with my new DP and played rather than practised. I have one section left to polish on my ABF Recital piece then I'll be able to record soon after that. I've almost caught up with my two Mendelssohn pieces, too. I'd only been working them every other week (by only I mean that I work most pieces one week on and three weeks off) so I left them over two weeks this time but I've forgotten little and am just about back on track.

I have 62/3 in seven sections and I can play each quite comfortably. 62/1 is in six sections but one of them I'm still having to go back to the score for. Still, I've plenty of time.

I plan to record a few pieces to accompany the photos of the new instrument so I may be a little while yet - but it'll still be new to you!

But enough about me...

We open today with Tchaikovsky's Storm, Op. 76, which, despite its turbulent title, is not too distressing for a Sunday morning.

It was written by a young Peter Ilyich while still a student as an exercise on vacation. It is based on a Russian play of the same name. He considered it unworthy of publication (possibly because it was dissed by his mentors) so it wasn't until three years after his death that the public got to hear it.

What a joyful delight is to be had when two Titans of the concert platform get together for what might have been a trivial frivolity played by lesser mortals and turn out a masterpiece.

Dvorak couldn't have come up with a more appropriate name for his little pieces.

My last piece before we rush off to Minneapolis comes from Verdi's Rigoletto.

Nathalie Dessay delivers Caro nome with captivating charm and wondrous beauty.

Wonderful selections Richard! Nathalie Dessay has a beautiful voice. Thanks for introducing me to her. Also, I'm glad to hear things are moving along for your two piano recitals...on your new DP

Good morning everyone! Since I am a late riser today, I'll get right to my musical offerings for today.


Thomas Augustine Arne (12 March 1710 – 5 March 1778) was a British composer, best known for the patriotic song Rule, Britannia!. He also wrote a version of God Save the King, which was to become the British national anthem, and the song A-Hunting We Will Go. Arne was the leading British theatre composer of the 18th century, working at Drury Lane and Covent Garden.

I first heard his Concerto No. 3 in A Major only a few weeks ago on one of the local public radio stations. Here is the first movement.

Thomas Arne - Concerto No. 3 in A major 1/4

My next selection is the Paris Quartet No. 1 in D by Georg Philipp Teleman. Here I will present Movements 1-6 of the six-part piece.

Telemann - Paris Quartet No. 1 in D - Mov. 1-3/6

My final offering for today is a composition by Norwegian composer, Edvard Grieg, Anitra's Dance. Enjoy the rest of your Sunday! Be sure to check in a bit later for Richard's finale!


Grieg- Anitra's Dance

Hello all

Here's my favourite Couperin Prelude (apart from No.1) from L'art de toucher le clavecin.

I'm trying to convince myself that it's good practice for 3rd/4th finger trills [they are all over the piece!], which I am totally crappy at. What is the best way, I wonder, of helping to develop my hopeless 3rd/4th?

<waves>

Thanks for the Muffat!

The Foster is indeed occupying quite a bit of my time. I've also been spending some time away from keyboards of all types.

Hi Eglantine! I enjoyed the Couperin. I can relate to the problem with trills. My teacher gave me a few Hanon exercises to work on for trills. However, I'm not so sure they'd be helpful to you. I was hoping to start on a Handel keyboard selection by now with lots of trills in it. However, I've got too many unfinished pieces to do right now. Therefore, trills and Handel have been put on the back burner until I finish my work on Debussy and Chopin!

Btw, were you able to continue with your lessons throughout the busy time you've had?

Eglantine, I was probably writing while you were posting the harpsichord photo. Is it yours? It's a beauty! Congrats!

Eglantine, cool, you will have to play us something when you get time

Goodness, Eglantine, how wonderful to see you - and your William Foster! No wonder you're not here much. Health to enjoy!

One of the best ways of developing trills that I know of is to work them as two notes trills starting with the upper note then the lower note, then go to three note trills, upper, lower, upper and lower, upper, lower and so on.

It's quite easy, considering you're using 3 & 4, up to six or seven notes. It's when you need to prolong them for eight or more that it gets treacherous. I use 3/4 trills in some Scarlatti but they're mostly 4 on a white note, 3 on a black which is easiest. Two whites next, 4 on black and 3 on white is tricky but two blacks is the hardest because, I think, of the stretch between them.

I know it's a workaround rather than a solution but you might try and use 2 & 4 or 3 & 5 as alternatives.
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Bach's Concerti Grossi were written along the lines preferred by Vivaldi - three movements with the middle movement in a related key. He also used a more progressive choice of instrumentation and made better use of virtuoso material.

Handel preferred the older model of a multi-sectional work with all or most of the movements in the same key in the style of Corelli, who he much admired, and whose preponderant use of strings with little challenge for the players he copied. He made maximum effect with the least amount of trouble. The style was not to last.

The lack of virtuosic material makes this a wonderful vehicle for amateur performers and this performance is by a Korean group of largely professional people, doctors, lawyers, etc, but decidedly amateur musicians. It is a pleasure to promote them.

No. 11 was apparently the last of op. 6 to be written. Much of it is duplicated in an earlier organ concerto in A but this is not transferred from the organ. The use of repeated notes in the strings, quavers bursting into semiquavers into demisemiquavers is not in the keyboard writing of either Scarlatti or Handel. This is music for strings.

Charles Burney described the first movement of this work as wild and capricious for the time it was written.





The short Largo is only six bars long and one might wonder what it is doing here. What it does is break the tonal monotony of A major. The fugal Allegro we just heard is quite short but the Andante is quite long and the Largo relieves it with a slight tonal disorientation as it begins on D major and finishes with a half close on F# minor, the relative minor.