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Since my nocturne submission was from a recording last summer, and was not on my regular piano (it was on a rented digital from when I was abroad last summer) I thought I might put up something recent and played on my acoustic piano. So I offer this, because it's in the vein of being quiet and somewhat nocturne-y.
It's from Schumann's Album for the Young. We're working through this book as etudes (one or two a week) and I got to this one yesterday.
I am trying to have a more controlled sound, letting things breathe. I give up on phrase ends, don't expand into places where I should take my time, and often rush. I don't know why it happens, but the feeling I have is a strong desire not to waste the listener's time.
So I'm working on it. Even posting things here is a bit of a hurdle for me; I may try to do this more often so as to acclimate simply to the process of playing with better space and confidence.
[...] I give up on phrase ends, don't expand into places where I should take my time, and often rush. I don't know why it happens, but the feeling I have is a strong desire not to waste the listener's time. [...]
I've been thinking about this since the day you posted it, TS. First of all, the playing is lovely. I get most frustrated, as a listener, when I feel someone is hurrying. In your performance, here, I did not feel that you were rushing me to hurry up and listen, so there. That's that.
Still, as to your nagging concern about respecting the listener's time, what if you framed your thought in terms of "enunciation"? You obviously have something to say through your music. I would think that would mean that you'd like to be understood. Perhaps in order to "enunciate" you will take the appropriate time to say clearly what you have to say (finish the phrases, let rests work their magic, develop the dynamic landscape, etc., all with the sensitivity and understanding with which you are capable), and so give the listener the multifaceted gift of your music. Willing listeners are giving you their time to listen. The respectful thing to do is to take that time--the time your listener has given you is yours now. It's up to you to make it count by using it deliberately to make something happen. Listeners who want to hurry off to their next thing aren't worth your time or theirs.
Just a thought...
--Andy
Last edited by Cinnamonbear; 04/15/1410:45 AM. Reason: Took the time to re-phrase something
I'm doing the other pieces near this one in the book, too, and they all seem to require the same kind of touch. At least that's how I feel like they are supposed to sound.
We'll see what I can do with "Mai, Lieber, Mai" "Frühlingsgesang" and "Erster Verlust".
Then I've got Kleiner Morgenwanderer, Schnitterliedchen, and then I'm done with anything new until I'm finished with the Shostakovich. At least I've got the Grieg to tuck a little romantic melody in there.
[...] I give up on phrase ends, don't expand into places where I should take my time, and often rush. I don't know why it happens, but the feeling I have is a strong desire not to waste the listener's time. [...]
I've been thinking about this since the day you posted it, TS. First of all, the playing is lovely. I get most frustrated, as a listener, when I feel someone is hurrying. In your performance, here, I did not feel that you were rushing me to hurry up and listen, so there. That's that.
Still, as to your nagging concern about respecting the listener's time, what if you framed your thought in terms of "enunciation"? You obviously have something to say through your music. I would think that would mean that you'd like to be understood. Perhaps in order to "enunciate" you will take the appropriate time to say clearly what you have to say (finish the phrases, let rests work their magic, develop the dynamic landscape, etc., all with the sensitivity and understanding with which you are capable), and so give the listener the multifaceted gift of your music. Willing listeners are giving you their time to listen. The respectful thing to do is to take that time--the time your listener has given you is yours now. It's up to you to make it count by using it deliberately to make something happen. Listeners who want to hurry off to their next thing aren't worth your time or theirs.
Just a thought...
--Andy
Thanks for posting this. You did a wonderful job of shaping the phrases and using rubato in measured, tasteful doses to re-create the tender simplicity Schumann had in mind.
As for your other concern, I think Andy's response is right on the money. There's no need for you to be concerned about wasting anyone's time. People who listen to these recordings know what they're hoping to find. I can usually tell in about 30 seconds if a performance has something interesting to say. If not, I hit the back button and move on. Your recording made me come back for a second helping.
Andy, those are some GREAT suggestions. I'm going to do my best to try to keep it in mind as I play. It's a terrific way to think about what the whole endeavor is trying to accomplish. Now, to try to figure out how to maintain those thoughts while simultaneously pushing some black and white keys accurately.
Poly, I agree, it's too slow. But it was the speed at which I felt I could be in control of everything. And, yet, there are still three pesky little mistakes in there. Why, at such a speed, were there ANY? Only the shadow knows.
I will speed it up and record it. Along with May, Sweet, May, and Erster Verlust, which are largely finished.
[...] Now, to try to figure out how to maintain those thoughts while simultaneously pushing some black and white keys accurately. [...]
Actually, I was thinking something more today regarding all of this, so I'll be bold and blurt it out since you gave me the perfect opening! It is very much not about "trying to figure out how." That will take you back to the place of distraction and divided attention. (I realize you intended a polite figure of speech in your reply, but words have meaning and reveal things...). No, it is not about figuring out how. Rather, this:
Originally Posted by TwoSnowflakes
[...] expand into places where I should take my time [...]
Notice that you answered your own question with your own words. One can be patient, even at a faster tempo. If I were you, I'd be more concerned about "expanding into places" first. The tempo will take care of itself as you take it around the block a few more times. Tempo is a huge variable, anyway, even when you bring the piece up to the speed that you hear it in your mind's ear. Some days, it will come out more slowly, some days on the quicker side, but that which you find when you expand into the places of it, that is your guide!
Very nice voicing, and tasteful rubato. But it needs to be about twice as fast.
I'll have you know that I played it for my teacher today. And she said, "lovely. Now from the top, but significantly faster, mmkay?"
Whadaya know? It worked. And also sounded more like it was in 6/8. Which, given the piece is marked 6/8, is probably a good thing.
May, Sweet May, came together quickly, and the last two (before it starts in on the pieces that are meant for adults) look fine to start and finish this week. I might have actually learned something this year.
On the other hand, I'm just juvenile enough to snicker when the next page warns, "For Adults". Oh dear, I wonder what Schumann's Adult Section sounds like.
The whole album of Op. 68 is called "For the Young" but halfway through, Schumann labels the rest of them "For Adults." May, Sweet May is one of the last several pieces in the children's section, then there's this one, and then after that there are two more, and that's the last two Schumann indicates are meant for children.
I'm going to stop there because flipping through them it seems they take a step up in difficulty after the children's section is finished and we were using this as a sight-readable technical tune up rather than pieces to work on as primary repertoire.
Maybe after I've gotten on top of the Grieg and Shostakovich I can finish up the rest of Op 68 but chances are there are a bunch of other things I could use as etudes/technical studies. If I want to stay in the children's notebook arena, the Kabalevsky 24 Pieces for Children looks charming and full of good things to reinforce, as I continue my quest to fill the gaps in my childhood piano education.
As for my comment about Schumann's Adult Section, well, you're a more mature person than I am if it didn't make sense to you.
I thought this was beautifully done and I don't think it necessarily needs to be faster. It COULD be faster but this tempo works well. (Polyphonist wants everything to be fast, you know )
Seems like the main challenge is keeping things steady while maintaining enough flexibility in the tempo to be musical, and balancing the melodic bass line with the every-measure phrases. This you did very successfully. Sure, you could have done more with the larger phrases (8 measures or so? not looking at the score atm) but it's lovely as is. If only everyone playing Album for the Young did so with this much sensitivity.
Heather Reichgott, piano
Working on: Mel (Mélanie) Bonis - Sevillana, La cathédrale blessée William Grant Still - Three Visions
In your performance, here, I did not feel that you were rushing me to hurry up and listen, so there. That's that. 
One can be patient, even at a faster tempo. If I were you, I'd be more concerned about "expanding into places" first. The tempo will take care of itself as you take it around the block a few more times. Tempo is a huge variable, anyway, even when you bring the piece up to the speed that you hear it in your mind's ear. Some days, it will come out more slowly, some days on the quicker side, but that which you find when you expand into the places of it, that is your guide! 