Piano World Home Page Forums Our Most Popular Forums Pianist Corner Members Recordings - Pianist Corner Brahms Op. 76, Capriccio in f-sharp minor: [Requested]

I was asked to post this recording so here it is:

https://app.box.com/s/6rk0plazteiozwkcj5t9

There is an old thread where I basically just managed to get through the piece. I have made a number of recordings since then until I decided to take a break from the piece (again). I still struggle to get a convincing performance of it mostly due to technical or musical shortcomings. I just play it because I love it, not because it's a good idea or anything. It gets better each time I return to it.

This is a recording that was first shared in the Digital Piano forum as a kind of sound test. I didn't post it here because I'm still on the fence about the sound.

I've been playing this for a long time and realized today that I have been playing three notes wrong for years. I hate it when that happens...

I know. It kinda rocks your world in a number of ways, doesn't it? I joined that club a long time ago...

This is very nice listening, Pathbreaker! What were you on the fence about with the sound? I found nothing distracting about the sound of the piano at all--it is quite gorgeous. I did notice, though, that when I flipped my headphones and listened with the L channel on my right ear and the R channel on my left, it made more sense, in an "anatomical" kind of way.

Thanks for sharing this!

More Brahms! (Where is Damon when you need him?)

--Andy

First, it's very good Brahms. Are you Pedigree-trained or are you a miracle auto-didact? Tim thought you should have a (baby?) grand. Brahms bass loves the Steinway growl.

However, I went fallow with a tubby old baby grand for 30 years and not-so-great digitals, and I hardly ever played them. Now I have sinful bass on a 7'9" grand, and several Yamaha keyboards to practice on, but hardly ever play anything but the grand. For inspiration to play and to practice, action is more important than sound. I remember reading about a P51 pilot-trainer who said that the P51, compared to anything else a private pilot could fly in the 90's, was "like having a real live woman in your hands." Apologies to women, alive or ersatz; you may substitute "person". Apologies to digital owners if you are limited by space, funds, spouse with hyper-acusis (my sympathies!), etc.

Agree with C'bear that headphones flipped sounds better (with bass on left, treble right), but before I tried flipping it did not bother me. Is this a newer digital, sampled upgrade like Ivory, Galaxy, Ravenscroft?. It seems to have a good "soundstage", bass is good, treble even better. I almost can't tell it's digital.

And I'm afraid we disagree on sound priorities. Sound is important but not crucial. 'listened to your Brahms on Youtube 2/23/14. I like it better (was that one done on your Rhodes?) That was 19 seconds shorter than this one, and I think it flowed better. You have very good expression; no need to go all Bernstein (...listen to those tromBONNZZZZ!!!) Also, there's only one person on this forum that likes chord rolling, or almost-rolling asynchrony (found that out the hard way). Version 1 was more synchronized . Superior quality of performance trumps better fidelity of sound.

Thanks, Andy! I'm using a sampled piano (Ivory II ACD) along with my Roland RP301. During the time that I made this recording I was spending countless hours adjusting the parameters of the software to get as close to a real acoustic in both sound and response/behavior. It was a lot of work and I figured I would record it again when I was "done." Of course it's the type of thing that you can never be satisfied so I didn't quite feel comfortable posting it. I'm starting to not trust my ears with it. This is why it's refreshing to hear your feedback. Of course I obliterated the settings that produced this recording long ago. I'm sure I'll find my way back or find something even better eventually.

I've actually taken a break from using the VST because it was interfering with efficient practice sessions. I do find the Roland to be more responsive and realistic in it's behavior, at least until I get better at handling the VST settings. When I'm ready to make another recording I might try to do one of both. The Schumann I'm working on now sounds great just on the Roland. The character of the piece is quite different and so I don't miss the more robust lower register that the VST offers.

That's interesting what you say about flipping the headphones. I have no knowledge of that kind of thing. I'm still new to recording and all the sound engineering stuff. But it's a lot of fun so I continue to work on it when I have time.

That's a long story. Basically I trained intensively for a few years with a private teacher. I wouldn't say I'm self taught but more that I continued from that foundation.

I listened to the other recent recording of this piece by Elizabeth Bennett and that piano sound is amazing. I don't know how I would describe it other than organic or earthy. That's how I like to hear it so I agree with Tim. From a purely sonic perspective this recording of mine is closer than the last one, I think.



I think I see what mean here. I agree that it should feel good to play. I also think access is important. I explored my acoustic options and decided I was better off having an at-home solution. an acoustic grand is not yet an option so I decided to go with a software piano.



I wish I could have regular access to a great acoustic but this comment is very encouraging.



Thanks for listening to that. I think that was supposed to be my final recording of the piece and put it on the shelf. I only brought it back after I got the VST because it seemed like a good piece for testing. In a way, my goal since then was to upset that flow in favor of more freedom. I usually prefer a more straightforward interpretation but I started to think it was too narrow. In that performance I strictly followed the score and my expression was an extension of what was indicated.

I still think I need to experiment so that I have a better feeling that my stylistic decisions are deliberate. I don't have a very strong background in this stuff...

I also have contrasting versions of the A major Intermezzo. The one on Youtube that is a standalone is very rigid in it's tempo but more recent versions are much more flexible. I really don't know what I want, I'm just experimenting. Your feedback really helps as I continue to explore.

My comments are worth every penny you paid. Caution is for contests. Agree with Cortot: no pianist should be anonymous.

Thank you for posting this! I enjoyed listening to it. I thought the final section was especially convincing and sensitive.

Thanks, Lizzy!