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I'm slowly working through the first page. Looking ahead, it just gets harder. Good thing I have 5 months to learn this!


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I have finished memorizing my piece, In Church, Opus 39 no 23. It turned out to be quite straightforward and had some repetition, and it was only 1 page. I might be able to record it in a month or so, but we'll see.

I am so happy that it is in hand, because the Joplin piece is at least 10 times more challenging.

I am unable to sight-read except at ultra slow speeds. Those who can sight read these pieces are at a decided advantage, I think, and it's probably necessary for the longer pieces. I am starting to put in a lot more time sight reading (about 20 minutes a day now) but it will take some time for that to mature.

I have listened to all of the Opus 39 pieces and I really like several of them: Morning Prayer, The Sick Doll, The Doll's Funeral, the Old French Song, and the Organ Grinder's Song. Sweet Dream has its moments, too. I am really looking forward to hearing other peoples' versions of these, and I am learning Morning Prayer and the Old French Song now in addition to In Church.

I would also like to listen to some of Tchaikovsky's more elaborate works. I am finding that his work speaks to me in a meaningful way. Best wishes to everyone.

Last edited by AZ_Astro; 11/17/13 02:26 AM.

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Originally Posted by AZ_Astro


I have listened to all of the Opus 39 pieces and I really like several of them: Morning Prayer, The Sick Doll, The Doll's Funeral, the Old French Song, and the Organ Grinder's Song. Sweet Dream has its moments, too. I am really looking forward to hearing other peoples' versions of these, and I am learning Morning Prayer and the Old French Song now in addition to In Church.



By co-incidence I had started to learn Old French Song a few weeks before the announcement of this themed recital. It is a beautiful little piece but has a tricky four measures(17-20) with a staccato broken chord bass line. It has taken a bit more time than I first thought but I have it under control now. I don't won't start learning my actual recital piece The Sick Doll until January earliest.


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I have worked out the fingering for my piece, but Tchaikovsky seems to be another composer who is hard on us small handed individuals. The right hand has several major stretches with held notes and a continuing melody line in the RH. It is going to take some slow work to figure out how to do this comfortably. I love the piece though!

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To other op. 39ers - you might want to check this recording by Idil Biret, sounds nice to me:

http://www.youtube.com/watch?v=oyFg5HMZKRw

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Originally Posted by sinophilia
To other op. 39ers - you might want to check this recording by Idil Biret, sounds nice to me:

http://www.youtube.com/watch?v=oyFg5HMZKRw


Or this collection of Opus 39, played by Mikhail Pletnev. Both collections are delightful and I have found that I prefer one or the other at times.

http://www.youtube.com/watch?v=6t9wtnALR5o&list=PL-EbSmbfX83yBDz6Bo7kp5zUgzv5xILPP


Last edited by AZ_Astro; 11/17/13 11:09 AM.

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I'm giving up "January". With my March recital, the April deadline for this recital is just too much. I have it half learned. But, going to have to set it aside to concentrate on recital material.


The Tchaikovsky Themed Recital is due to take place April 15.

To preserve existing selections, always QUOTE from the latest list then, in any order:

-- Delete the initial "[quote=<name> ]"
-- Delete the final "[/quote ]"
-- Add your name and the bold tags, "[b ]" and "[/b ]", around your chosen piece.

Then submit the new list.
A 30sec clip is available of each piece in the same order as below @ Deezer (If you sign up or in with FB, the whole pieces can be played for free)
Or here, if you're restricted from the above due to your location:
All Music
[/i]

Op. 1 No. 1. Scherzo a la russe
Op. 1 No. 2. Impromptu (patH)

Op. 2 No. 1. Ruines d'un chateau (Morodiene)
Op. 2 No. 2. Scherzo
Op. 2 No. 3. Chant sans paroles

Op. 4 Valse caprice in D major
Op. 5 Romance in F minor (Ganddalf)
Op. 7 Valse-scherzo No. 1 in A major
Op. 8 Capriccio in G flat major

Op. 9 No. 1. Reverie
Op. 9 No. 2. Polka de salon
Op. 9 No. 3. Mazurka de salon

Op. 10 No. 1. Nocturne in F major (Valencia)
Op. 10 No. 2. Humoresque in E minor

Op. 19 No. 1. Reverie du soir (Dipsy)
Op. 19 No. 2. Scherzo humoristique
Op. 19 No. 3. Album Leaf (zrtf90)
Op. 19 No. 4. Nocturne (Rupak Bhattacharya)
Op. 19 No. 5. Capriccioso
Op. 19 No. 6. Theme originale et variations

Op. 21 No. 1. Prelude in B major
Op. 21 No. 2. Fugue a 4 voix in G sharp minor
Op. 21 No. 3. Impromptu in C sharp minor
Op. 21 No. 4. Marche funebre in A flat minor
Op. 21 No. 5. Mazurque in A flat minor
Op. 21 No. 6. Scherzo in A flat major

Op. 37 No. 1 January: By the Fireside
Op. 37 No. 2 February: Carnival
Op. 37 No. 3 March: Song of the Lark (SwissMS)
Op. 37 No. 4 April: Snowdrop (Pavel.K)
Op. 37 No. 5 May: White Nights
Op. 37 No. 6 June: Barcarolle (Sam S)
Op. 37 No. 7 July: Song of the Reaper
Op. 37 No. 8 August: The Harvest (dire tonic)
Op. 37 No. 9 September: The Hunt
Op. 37 No. 10 October: Autumn Song (Andy Platt)
Op. 37 No. 11 November: Troika
Op. 37 No. 12 December: Christmas (carlos88)

Op. 39 No. 1. Morning Prayer (casinitaly)
Op. 39 No. 2. Winter Morning
Op. 39 No. 3. Mamma
Op. 39 No. 4. Hobbyhorse
Op. 39 No. 5. The Toy Soldiers' March
Op. 39 No. 6. The New Doll (ClsscLib)
Op. 39 No. 7. The Sick Doll (earlofmar)
Op. 39 No. 8. The Doll's Funeral
Op. 39 No. 9. Waltz
Op. 39 No. 10. Polka
Op. 39 No. 11. Mazurka (MrPozor)
Op. 39 No. 12. Russian Song (Johnny D)
Op. 39 No. 13. Peasant Prelude
Op. 39 No. 14. Popular Song
Op. 39 No. 15. Italian Song (sinophilia)
Op. 39 No. 16. Old French Song (Recaredo)
Op. 39 No. 17. German Song (sydnal)
Op. 39 No. 18. Neapolitan Song (IreneAdler)
Op. 39 No. 19. A Nursery Tale
Op. 39 No. 20. The Witch Baba Yaga
Op. 39 No. 21. Sweet Dreams (AimeeO)
Op. 39 No. 22. The Lark (tangleweeds)
Op. 39 No. 23. At Church (AZ_Astro)
Op. 39 No. 24. The Organ-Grinder's Song

Op. 40 No. 1. Etude
Op. 40 No. 2. Chanson triste (Greener)
Op. 40 No. 3. Marche funebre
Op. 40 No. 4. Mazurka in C major
Op. 40 No. 5. Mazurka in D major
Op. 40 No. 6. Chant sans paroles
Op. 40 No. 7. Au village
Op. 40 No. 8. Valse in A flat major (timmyab)
Op. 40 No. 9. Valse in F sharp minor (PikaPianist)
Op. 40 No. 10. Danse russe
Op. 40 No. 11. Scherzo
Op. 40 No. 12. Reverie interrompue

Op. 51 No. 1. Valse de salon
Op. 51 No. 2. Polka peu dansante
Op. 51 No. 3. Menuetto scherzoso
Op. 51 No. 4. Natha-valse
Op. 51 No. 5. Romance
Op. 51 No. 6. Valse sentimentale (lyricmudra)

Op. 72 No. 1. Impromptu (Peterws)
Op. 72 No. 2. Berceuse (MaryBee)
Op. 72 No. 3. Tendres reproches
Op. 72 No. 4. Danse caracteristique
Op. 72 No. 5. Meditation
Op. 72 No. 6. Mazurka pour danser
Op. 72 No. 7. Polacca de concert
Op. 72 No. 8. Dialogue
Op. 72 No. 9. Un poco di Schumann (Wayne32yrs)
Op. 72 No. 10. Scherzo-fantaisie
Op. 72 No. 11. Valse bluette
Op. 72 No. 12. L'espiegle
Op. 72 No. 13. Echo rustique
Op. 72 No. 14. Chant elegiaque
Op. 72 No. 15. Un poco di Chopin
Op. 72 No. 16. Valse a cinq temps
Op. 72 No. 17. Passe lointain
Op. 72 No. 18. Scene dansante: invitation au trepak



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Originally Posted by dynamobt
I'm giving up "January". With my March recital, the April deadline for this recital is just too much. I have it half learned. But, going to have to set it aside to concentrate on recital material.


Aww...add it to the recital in place of something! laugh


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Hmm... it seems reasonable to allow second choices after November 30th which has allowed for people to select pieces; and I would want others to have plently of time for their second piece.

Regarding second pieces, I was trying to decide. I listened to The Organ Grinder's Song and was entranced but I thought I might try to challenge myself with another piece which is probably a little too difficult, but hopefully it would advance my technique, understanding etc.. the piece I was thinking about "May" from his Seasons.

Is this piece too much compared to my other pieces that I can currently play, 1st movement of Beethoven's 14th Piano Sonata, Chopin Waltz in A minor, Old French Song etc... If "May" is too challenging any suggestions for another second piece?

That being said is someone knows of a good piano adaption of his Valse from Act I of Swan Lake as that would be my ideal second piece, as I would absolutely love heart to be able to play, it brings back so many memories of my ballet years, and it would be great to come full circle being able to play what I used to dance too.

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Originally Posted by IreneAdler
Is this piece too much compared to my other pieces...
Have you been through the middle section? If you can play either M24-31 or M45-54 up to or close to tempo, hands separately, within a couple of days you should manage this in the time available. It is one of the easier pieces in the opus which are uniformly Grade 7 ABRSM (though they aren't all the same level technically). Henle marks this as level 4/5. If your teacher gave you the Adagio sostenuto you have the interpretive skills but it's a bit of a march from Op. 39.

If you want it, put your name on it now. It's easier to take your name off later than trying to claim it after someone else has taken it.
__________________________________

There is no requirement to get all these pieces played in this recital. It's more players we want than more pieces but if anyone is looking for difficult second pieces that will need more practise time I would urge you to stake a claim now since uptake has slowed down over the last while.

I'd like to leave Opp. 39 and 40 until December 1 before opening them for seconds.

There have been few responses to earlier suggestions so let me put some more out there and see how folks react...

The size of the works we've been tackling have, at least for me, been a bit of a stretch and have taken time, effort and dedication. If I'm to put that much into it then I'd prefer to have a more appropriate choice for my skills and tastes.

The fact that it IS a themed recital confines my choice enough for me.

Where there's a small collection of works being offered then it's worth having them all shared out but once all the pieces are taken up I see no further benefit in restricting subsequent choices.

Having more than one person play each piece is not enough to create competition in my view. Everything we do, in the classical world, is based on a restricted set of pieces but it's our own interpretation that makes it unique and there has been no sense of competition when popular pieces are entered in the ABF recital by two or more members, but rather been a fun comparison or gone almost unnoticed. It is what the performer does with the material that draws attention not how it compares to someone else's.

The first themed recitals were small in scope, five or six pieces presented by a small group but the Mendelssohn recital showed just how much fun and reward there is in a joint venture and a shared focus and how widely divergent peoples tastes are.

If we chose, for example, to do Debussy's Suite Bergamasque and everyone went for Clair De Lune, that would certainly encourage me to look at the other pieces.

My preference would be to see a list of participants, each with a piece or two they'd like to do, than a list of pieces only available to one person each. In fact I see more benefit from several interpretations.

For second pieces then, I see no need to restrict them to one performer.

Thoughts?



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Struggling with legato thirds where one finger is on a black key and the other white.. Any suggestions other than play it very slowly until you can do it?


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Legato thirds are tough. I'm not a teacher but I've been playing for years.

One of the best ways of avoiding special technical exercises like Czerny or Hanon is to make exercises out of the passages you find difficult. This has the benefit of being specific to something you can't already do, something that you need to do (giving you incentive to learn), and when you're done you get the reward of making a difficult piece easier.

I would practise this by alternating 5-3 with 4-2 and using more arm and wrist than fingers on 5-3, then alternating 3-1 with 4-2 with wrist on 3-1. I would go slow enough that you feel your fingers on the keys before you play each pair and deliberately and consciously sound both notes together. Try not to move the fingers any more than you need (at all if you can), drop the arm on 5-3 and raise the wrist as you pivot/glide onto 4-2.

The moment you take this at a comfortable speed without getting both notes sounding together it stops adding benefit and starts introducing poor technique. Don't spend too long on it but let sleep increase the facility. Your brain will sort out how best to move your fingers while you sleep. This is one of the reasons why scales and Hanon aren't good without a teacher and lots of playing experience.

When the exercise starts feeling comfortable add an extra move: 5-3, 4-2, 3-1, 3-1, 4-2, 3-5. Again involve the wrist more than the fingers and concentrate on sounding each pair together. It's not a speed exercise, it's giving the brain a problem and letting it sort out how to do it while you sleep. This prevents the build up of tension. When it finds a solution (and grows the neural connexions) speed will miraculously appear as fast as the impulses can be responded to.



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Thanks zrtf90, I sort of sensed some wrist movement could help since it feels unnatural/forced when I keep the wrist locked and try to play them with finger muscles alone. I will try the wrist movement you described.


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Originally Posted by sydnal
Struggling with legato thirds where one finger is on a black key and the other white.. Any suggestions other than play it very slowly until you can do it?
It depends on what you're doing, really. Can you post a video of the passage in question? It could be whatever finger is collapsing in the first joint on the black key which is somewhat common, which creates unevenness in the sound.

You can try playing the passage alternating the bottom note with the top, then do the top first then the bottom. For example, if the thirds go from E-G to D-F to C-E, you'd play E then G, then D then F, then C then E, then go back and do G to E, F to D, E to C. You can play these evenly and also swinging them long-short then short-long.

This may help, although I'm not quite sure what specific trouble you're having.


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Yes, organists use their fingers because they're only operating switches without force. Pianists avoid using fingers because we play dynamically and need the weight of the arm to operate through the fingers. When you play 4-2 (from 5-3) it's about transferring weight onto 4-2 not moving them. The muscular effort is on lifting 5-3 just enough to release the keys under them.



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Originally Posted by zrtf90
Originally Posted by IreneAdler
Is this piece too much compared to my other pieces...
Have you been through the middle section? If you can play either M24-31 or M45-54 up to or close to tempo, hands separately, within a couple of days you should manage this in the time available. It is one of the easier pieces in the opus which are uniformly Grade 7 ABRSM (though they aren't all the same level technically). Henle marks this as level 4/5. If your teacher gave you the Adagio sostenuto you have the interpretive skills but it's a bit of a march from Op. 39.

If you want it, put your name on it now. It's easier to take your name off later than trying to claim it after someone else has taken it.
__________________________________

There is no requirement to get all these pieces played in this recital. It's more players we want than more pieces but if anyone is looking for difficult second pieces that will need more practise time I would urge you to stake a claim now since uptake has slowed down over the last while.

I'd like to leave Opp. 39 and 40 until December 1 before opening them for seconds.

There have been few responses to earlier suggestions so let me put some more out there and see how folks react...

The size of the works we've been tackling have, at least for me, been a bit of a stretch and have taken time, effort and dedication. If I'm to put that much into it then I'd prefer to have a more appropriate choice for my skills and tastes.

The fact that it IS a themed recital confines my choice enough for me.

Where there's a small collection of works being offered then it's worth having them all shared out but once all the pieces are taken up I see no further benefit in restricting subsequent choices.

Having more than one person play each piece is not enough to create competition in my view. Everything we do, in the classical world, is based on a restricted set of pieces but it's our own interpretation that makes it unique and there has been no sense of competition when popular pieces are entered in the ABF recital by two or more members, but rather been a fun comparison or gone almost unnoticed. It is what the performer does with the material that draws attention not how it compares to someone else's.

The first themed recitals were small in scope, five or six pieces presented by a small group but the Mendelssohn recital showed just how much fun and reward there is in a joint venture and a shared focus and how widely divergent peoples tastes are.

If we chose, for example, to do Debussy's Suite Bergamasque and everyone went for Clair De Lune, that would certainly encourage me to look at the other pieces.

My preference would be to see a list of participants, each with a piece or two they'd like to do, than a list of pieces only available to one person each. In fact I see more benefit from several interpretations.

For second pieces then, I see no need to restrict them to one performer.

Thoughts?



I think it's important that people play whatever calls to them. However, having had to play pieces that I didn't choose for the sake of helping to complete a set, I discovered pieces that weren't on my list of choices and enjoyed them quite a bit (some of them more than what I chose!). In this instance, we are not really doing just a set like we could with Mendelssohn or Grieg, but I do think that perhaps we should try to get certain opera completed (like Op. 39). But certainly since it seems that selection has slowed we could allow people to double-up on pieces and submit more than one of any selection here. I personally would welcome hearing different versions of a piece I worked on.

I have already started work on the entire Op. 2 even though I'm officially down only for No. 1, but if someone else wanted to play any of it, that's fine with me. I think this group is gracious enough to not get competitive about things and be respectful of each person's efforts.


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@Morodiene
Thanks, I am away at work so I don't have access to my dp nor the sheet music at the moment. (Also I wanted to thank you for your help in another topic last week but your inbox seems to be full so I couldn't send a pm. Thank you once more.)


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Originally Posted by sydnal
@Morodiene
Thanks, I am away at work so I don't have access to my dp nor the sheet music at the moment. (Also I wanted to thank you for your help in another topic last week but your inbox seems to be full so I couldn't send a pm. Thank you once more.)
Oh, thanks for letting me know! I certainly can delete some stuff. smile


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-yes, I’m up for multiple submissions of the same piece. Ok, for some there may be a competitive element but there should be a significant pay-off in motivation (to do one’s best!), in the educative benefit of comparison and in luring newcomers who will still have the entire list to choose from.

And, as you say, if everyone’s playing Clair de Lune, I’m going to look for something else…

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As there have been no objections in over 24hrs I suggest we go ahead and add names for second pieces where they're wanted.

It's no longer to stake a claim on the piece, but to let everyone know how popular the choices are. It may affect some performers more than others but it is courteous.

I think Morodiene's idea of completing Op. 39 is a good one. I'd consider one of the (as yet) unclaimed ones myself (guess witch one) but I'd still rather see newcomers names on them first. The more experienced can hold off and con them at the eleventh hour.

I don't want to impose any limits as to numbers of pieces but if everyone starts picking up half a dozen pieces we'll never hear the end of it and we're already in excess of 30.



Richard
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