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Feel free to use this thread to discuss the submissions. To make it easier, you can use this response template.

Thanks to all who worked so hard to make this recital a success!


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Looks like the link for the Schumann 6 zip file points to the Schumann 2 zip. You can download it via

http://recitals.pianoworld.com/recital_files/Schumann_Recital/Schumann%206.zip


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A huge thanks to Morodiene for taking care of this big recital!
I'm starting to listen...


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Making a recording took a lot of time, and so will listening to all the submissions. I am not a fan of Schumann's music, but you've all done so much work to get this huge selection up, so I am determined to listen to them all! Except for the last one wink

50. earlofmar - The Merry Farmer Op 68 No 10
My teacher assigned this piece for me last year but after 2 weeks I was so fed up with practicing, it was either out Schumann or the lid closed forever...

You on the other hand seem to have a happier time with it, the character of the piece comes out very well!


82. SwissMS/Doris - Opus 118 No 1 Sonata in G Theme and Variations

I thought this was lovely, there were many really good moments. Just practice few parts more and you'll do very well in your exam!

34. chopinoholic (Paul de Koning) - Novelette op.21 no.2

I was eager to hear your Pleyel again, but in some parts I could not quite ignore the need for tuning. It seems that Schumann's music is very revealing when it comes to that.

I didn’t sense quite the same kind of musical passion in this that I hear in your Chopin (or maybe it's just MY lack of passion for Robbie), but it still sounded impressive for a piece not fully matured. You’re just so good smile

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Thanks outo, it really does need a tuning..
This piece is pretty hard for me, and indeed it is not ready by far! Also it's my first Schumann piece ever. Thanks for listening and commenting.

Will listen later because I only have a mobile connection atm. Can't wait!


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Originally Posted by chopinoholic
Also it's my first Schumann piece ever.


Really? How have you managed? I guess it's comforting to know that it's not necessary to do every major composer so get so good...

I fact I might just follow your lead and not touch one again!

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01. Pianamateur - Papillons, op. 2

Only 2 years? Amazing! Just to get through such a 13 minute Schumann piece is a formidable task and for the most parts you played very confidently. And btw, for the most parts I enjoyed the acoustic version more, even if it wasn't as smooth.

As much as I would like to keep listening, must go, have a date...

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Thanks for reviewing, Outo! The longer I play this piece, the more I hear in it. I still have some areas that need tweaking, but hopefully by November it will be more refined!

Last edited by SwissMS; 03/15/15 08:40 AM.
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Very impressive recital. Only listened to about a dozen so far, all very high quality. Congrats to all participants for taking on Schumann, who I always find extremely difficult. Bravo thumb


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This is so fun to listen to!!
The wildest mix of levels I have ever heard laugh

All very inspiring. Everything is in it: short term goals, long term goals, and "some time in the year 2050" goals grin

Most of all very pleasant music, some of you make it sound effortless. In other pieces you almost see/smell the blood sweat and tears which have gone in to it.

I would like to say to all of you: Thanks so much for participating!

To those who stretched beyond their abilities, GOOD JOB!! What a challenge!

To the teachers and advanced players who took part, thanks so much for playing this beautiful music for all of us to enjoy!


one little remark though, in the zip files the first part of OP 68 is missing, it is in the online streaming player so something must have gone wrong

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What a wonderful recital! Thank you, Morodiene, for putting yourself out to fire us up and for doing the admin (and thanks to Sam also who I imagine is the ever-present technician).

The only blot on this otherwise fantastic collection of music and performances is that of my own contribution which pains me every bit as much as having to look at an unflattering photo of myself (the only kind there is!). Also, I will be wondering why the piece I spent the most time on is the one which causes me most grief.

But thanks to everyone else - talent in all shapes and sizes - every performance ringing with commitment and dedication. I hadn't realised what a gem Schumann really is - there are so many pieces here that I would like and intend to play (the simpler ones!). I'll be listening often to this recital.

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Thank you Morodiene for leading this event and all the work it takes to pull it off. Attached is my attempt at Schumann's Cradle Song. Clara liked to play this much faster but I've rocked babies and felt it needed a more gentle feel (plus no one ever accuses me of playing too fast). I've learned a lot in playing this one...nuances of notes to privilege and lifts that make it more musical. Had trouble with recording since I only do it for the PW events and have to relearn it every time so hope the sound quality is adequate.

https://youtu.be/asI41qFvgIE


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Thanks for that WiseBuff, I was about to file a complaint but this makes up for it grin beautiful song (this really is a song isn't it?).

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What a wonderful start to the day it's been, listening to so many gems in this recital!

After seven months of playing Schumann and thinking that I'll enjoy a good break after it's over I now find, only a few hours on, that my dance card is filling up with a dozen more Schumann compulsories.

There's no way I'm going to comment individually on over 80 pieces but every piece I've listened to so far is glistening with enthusiasm and demonstrating clearly the hours and efforts that have been expended.

Thanks to all the participants, to Morodiene and to Sam S.



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Karen, it was beautiful. First time hearing the piece. Your piano sounds good and loved your careful and sensitive touch

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Haven't heard any of these pieces from op. 6 before as far as I can remember.


02. Valencia - Davidsbuendlertaenze Op. 6 No. 4 - Ungeduldig (Con impazienza)

I don’t think it was sleepy, just moody in a nice way. The tempo changes must be difficult to pull off.


03. patH (Patrick Hollstein) - Davidsbuendlertaenze op.6, Nr.8 "Frisch"
Very nice and fresh!


04. Valencia - Davidsbuendlertaenze Op. 6 No. 10 - Balladenmassig sehr rasch

This was nice too. I think Schumann may have been unnecessarily obsessed with speed wink 



05. Richard (zrtf90) - Davidsbuendlertaenze op.6, Nr.15 "Frisch"
06. Richard (zrtf90) - Davidsbuendlertaenze, Op. 6 No. 16, Mit gutem Humor
07. Richard (zrtf90) - Davidsbuendlertaenze Op. 6 No. 17 Wie Aus der Ferne

You did so many pieces, that alone is a great accomplishment. Some of them sounded really difficult, but your playing was fine, no matter the tempo. I liked nr. 17 best.


It's pity that we couldn't do the whole op. So went to YT to listen to the whole thing. But sometimes it was like listening to racing, so fast shocked For my non-Schumann trained ears you guys played fast enough smile

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I'm kind of jumping around in the recital... For some reason my favorite opuses weren't completed frown


74. pavel.k - Waldszenen Op.82 No.3 Einsame Blumen
That was pretty and I don't mind you cheating, just glad you made it! smile

75. noobpianist90 - Vogel als Prophet (Bird as Prophet) Op. 82 No. 7
This is probably my favorite Schumann piece. You played the light figurations beautifully! Captivating as you say...

Last edited by outo; 03/15/15 03:07 PM.
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This morning I could listen to the first seven entries, Papillons and Davidsbuendlertaenze; then my smartphone ran out of battery...
Now I'm back home and I'm listening to timmyab, pieces Carnival op. 9.
Such a great start is intimidating, really!
I will not comment individually each entry, I'm definitely non competent when the level is so high!
I hope in op. 68! laugh


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Originally Posted by zrtf90
After seven months of playing Schumann and thinking that I'll enjoy a good break after it's over I now find, only a few hours on, that my dance card is filling up with a dozen more Schumann compulsories.

While I like so much listening, I don't think I will try another Schumann piece soon.
So far I've learned several pieces from the Album for the young, but none at a level I was satisfied for. Near Schumann, Bach is almost a breeze! smile


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Thank you listening FarmGirl. Felt like I was in a rocking chair with a little one for sure.

Now I want to sit back and enjoy all the other performers.

Last edited by WiseBuff; 03/15/15 02:16 PM.

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Something went wrong w/ the zip file process. Zip 5 contains #29, #30, then #47. So 31-46 are missing from the zips.

I decided to try downloading everything via the zip files this time and noticed this.


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1 Pianoamateur

Amazing what you just did. 5 minutes is as far as I go . . This music is going everyehere with lots o` different things going on. Well done! Great start.

2 Valencia

A very intimate piece, expressively played. Feels like my heads in that piano . .

3 PatH

Really really choppy, agitated, or should I say "Schnell-ish"? The guy was in a hurry when he wrote this . . .Great stuff, man!

4 Valencia

Just fell into that piano . .What a sound! It didn`t soulnd slow to me. It sounded right.

5 zrt90

So many ways to play these; Schumann`s nothing if not dramatic. This is all good stuff so far and thus a tad worrying for me, a relatively old hand! Congratulations on a fine work here.

6 zrt90

Both these pieces sing with an expertise worth being jealous over . . .great sound fro your ole Joanna.

7 zrt90

You have a wonderfully sympathetic style of playing. For a fella . . grin

8 Timmyab

Excellent sounding music on that Yammie of yours with plenty of light and shade, Blimey, nobody`s put a foot wrong yet . . .

9 Greener

Sch doesn`t have trouble sounding like Ch; there`s so much room for slipping up on these arpeggios. You did darned well here, just sounded really really nice. I recognized two distinct Chopin songs in there . . .

10 zrt90

Off to a very quick start! Very lyrical music here; wish I`d done it! Still can, come to think of it . . .great work and a lovely bell like effect from your piano.

11 Carey

Now then. What d`ya have for fingers? This sounds mentally difficult and fast. I`ve got to enjoy Sch. as one of the very best, and you do it justice.

12 Diretonic

This sounds very natural, great combination between digital tech, and acoustic result.I can only echo your own words "What a lovely Piece!" and that, my friend, is down to you.

I`m blown away . . . . ..this stuff sounds pro. Mine bloody doesn`t! shocked




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ERROR

Last edited by piano_primo_1; 03/15/15 04:02 PM. Reason: ICON IMAGE PREVIOUSLY MADE


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I had posted this on the other Schumann thread, but here's the link Greener made for the Schumann icon that is the right size:

http://www.pianoworld.com/Uploads/files/RS-xsml.jpg


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Sorry about the zip files. I'm unable to edit the OP, but you can access them via the other links provided.


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01. Pianamateur - Papillons, op. 2 Somehow I haven't heard this before. I hope you don't mind I went right for your soundcloud version. I think you are too worried about the elements that were not in your control when making this recording. When heard fully it's quite enjoyable and sounds much more alive and fresh. I was quite surprised at how familiar some of the themes are. I'm pretty sure Schumann used a few of these in later works. Nicely played!

02. Valencia - Davidsbuendlertaenze Op. 6 No. 4 - Ungeduldig (Con impazienza)
04. Valencia - Davidsbuendlertaenze Op. 6 No. 10 - Balladenmassig sehr rasch
The Op. 6 is one of my absolute favorites. I didn't know that it was considered one of Schumann's greatest but it has been that way to me. I'm glad you decided to include this recording despite your reservations. I enjoyed listening.

03. patH (Patrick Hollstein) - Davidsbuendlertaenze op.6, Nr.8 "Frisch"
Loved it! I'm so glad you played the repeat, so sad it had to end.

05. Richard (zrtf90) - Davidsbuendlertaenze op.6, Nr.15 "Frisch"
06. Richard (zrtf90) - Davidsbuendlertaenze, Op. 6 No. 16, Mit gutem Humor
07. Richard (zrtf90) - Davidsbuendlertaenze Op. 6 No. 17 Wie Aus der Ferne
It was good of you to put these three together. I love how they connect and I'm not surprised that they are a huge challenge to pull off. Definitely the kind of music that needs a lot of time to settle in your fingers. Seems like you have established a pretty good foundation so far. Thanks for sharing.

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84 Outo

A ponderous piece with super chords in there. Loved it and think you did a darned good job. Your piano sounded fine.

83 Stumbler

Well! This fair rattled along . . no time to think about what you`re doing here. Some of this stuff is mentally fast. I reckon it needs a bit of slowing down no matter what the music might say. Good job though. Glad I never got it . . . grin

82 SwissMS

Lots of expression and fluidity called for here, I reckon. You`re nearly there on this one. Best wishes for your exam!

81 Gingko2

Sch certainly like to attack the piano. I do too. You convey this very well, the music is good, but there is distortion at my end!

80 Morodienne

We get to hear all sorts of pianos/keyboards on these recitals, that`s got to be good. Yours sounded great btw; the music is very fine and your dad would be so proud . . .Indeed, the Pride of Erin . . .

79 Pathbreaker

I enjoyed this complex piece; it moves in a strange way towards the middle with that hyperactive bass. Sounds like something steady has a storm whirling around it . . .grief, I`m being philos . . .clever tonight . .

78 DireTonic

Garriton CFX is the way to go! Gonna find out the cost . . .super acoustics from this, great sound all round, excellent to listen to. Talking about the music now . . .

77Peyton

Played with much feeling, sounds like you got into this one deeply. Like a solemn hymn, reflective, lovely playing.

76 Dire Tonic

Could be worse you say! We`re all thinking "I wish . . ." Lovely.

75 Noobpianist

A delightful piece which conveys that which you suggest. The hymn sound mixes well and gives this a rare (for Sch) feelgood quality. Lyrical and light. Great job!

74 Pavel K

Soothing and articulate. You did right getting this out the best way you could . . . time is always a problem when it comes to recording. This is well worth a listen, lovely work.

73 Peyton

So powerful and played with the necessary aplomb. Wonderful.

72 Carey

Another hymn like from Sch. Love these. You give this its quality and essential drive.

Bye for now. Enjoyed all this so much. Special thanks to Morodienne


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Congratulations to everyone who contributed to this major undertaking! I've just started listening and it's going to take some time to get through all 84 pieces. I'm very impressed with what I've heard so far. However, I'm afraid I'm not going to be able to write comments on each one of them. I will listen to each piece, however. What an accomplishment!!!



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Morodiene and Sam S Thank you for doing this enormous recital thumb

Settled in with buckets of cheese and crackers, and gallons of hot tea, for a very long Sunday of nothing but great performances (and a wee bit of piano-practice during the intermissions) smile In fact, it’s now officially Monday here.

Well, that was quite an earful of Schumann! I was not very familiar with this composer, so it was great to get such a broad presentation of his works. In general his pieces sound pretty darn difficult, and while a lot of it isn’t my cup of tea, I am fast becoming a fan of some of them, so must work hard now to be able to play a few of these lovely pieces some day.

I’m so impressed with those of you submitting two, or even more, pieces. That must have been quite a Herculean task!

I am obviously not qualified to offer any ‘technical feedback’, but my personal impression you shall have, and my appreciation of all your hard work. It was a privilege to listen.


Pianamateur 01. Papillons, op. 2
I take exception to the ‘amateur’ in your name LOL, to hold up for such a long piece is incredible. And your first recital too! Great Job.

Valencia 02. Davidsbuendlertaenze Op. 6 No. 4 - Ungeduldig (Con impazienza)
04. Davidsbuendlertaenze Op. 6 No. 10 - Balladenmassig sehr rasch

I think both pieces were very well done, and the first one not a bit sleepy. Nice pieces that really grow on you after a couple of listens.

patH (Patrick Hollstein) 03. Davidsbuendlertaenze op.6, Nr.8 "Frisch"
’Frish’ indeed! I almost had to hold my breath through this piece. Loved the video, allowing me to watch these masterful hands at work.

Richard (zrtf90) 05. Davidsbuendlertaenze op.6, Nr.15 "Frisch"
06. Davidsbuendlertaenze, Op. 6 No. 16, Mit gutem Humor"
07. Davidsbuendlertaenze Op. 6 No. 17 Wie Aus der Ferne
10. Des Abends, Op. 12 No. 1
54. Erster Verlust, Op. 68 No. 16

While the music was not to my taste, I still enjoyed your always excellent playing, especially those magic trills.

timmyab 08. Three pieces from Carnival op 9
Excellent playing of these pieces, though perhaps the ‘easier’ ones, certainly not ‘simple’.

Greener / Jeff Green 09. Carnaval, Chopin Op. 9, No. 12
Ah, this was nice, and played with such feeling smile You are right, this is both graceful and beautiful.

Carey (Phil Jones) 11. Aufschwung (Soaring) Opus 12 No. 2
64. Kriegslied (Song of War) Opus 68 No. 31
70. Nordisches Lied (Northern Song) Opus 68 No. 41
71. Figurieter Choral (Figured Choral) Opus 68 No. 42
72. Sylvesterlied (New Year's Eve) Opus 68 No. 43

Oh, that was just wonderful! Especially ‘Nordisches Lied’ blew me away. Although I had never heard it before, it was eerily familiar. Clearly influenced not just by Gade, but other nordic music. Had to listen to this 5 times before I could tear myself away. This has to go to the top of my list of things to play (when able). Thank you for that smile Also absolutely loved the videos of all your pieces. You went all out to give us an all-round experience.

dire tonic 12. Warum? Op. 12 no.3
76. dire tonic - Nicht schnell, mit Innigkeit Op. 99 no.1
78. dire tonic - Serh Langsam Op.99 no 8

Skillfully played.

FarmGirl 13. Op12 No 4 Grillen
You being sick and all, I think it was a heroic effort. Majestic even smile

hreichgott / Heather W. Reichgott 14. Fantasiestucke Op. 12 no. 5 In der Nacht
15. Fantasiestucke Op. 12 no. 6 Fabel
16. Fantasiestucke Op. 12 no. 7 Traumes-Wirren

Excellent playing.

AndyPlatt 17. Ende vom Lied, from Fantasiestuck, Op. 12, No 8
Excellent playing. Sorry I keep repeating myself, but what else is there to say smile

sinophilia (Diana) 18. Op. 15 no. 1 - Von Fremden Laendern und Menschen
Beautiful piece, and I love the way you play it.

Woodog /Forrest Halford 19. Op. 15, #2 "A Curious Story"
20. Op. 15, #3 "Catch Me"
25. Op. 15, #8 "By the Fireside"
26. Op. 15, #9 "Knight of the Rocking Horse"
27. Op. 15, #11 "Frightening"

I thought it was great, but I can see how the last one would be scary to pull off LOL

peterws 21. Pleading Child
33. Novelletten 21 1
55. Roaming in the Morning op 68 17
66. Mariners Song

Some great playing. No idea how you managed the Mariners so schnell.
Camera have too many beers before 33? That angle made me seasick laugh

dynamobt/Marilyn 22. Perfect Happiness Op 15 no 5
24. Dreaming Op 15 no 7

Ah, Träumerei, also one of my favorites. Enjoyed that very much smile

ElaineAllegro 23. Opus 15, Kinderszenen, #6: Wichtige Begebenheit (Great Adventure)
Liked the little boy story, fits it well laugh

Moonsh1ne (Ken) 28. Op. 15, No .13 Kinderszenen - Der Dichter Spricht (The Poet Speaks)
You played that with great feeling. And thank you for the tip on the movie, I’ll have to watch that now.

Tim Adrianson 29. Kreisleriana #1 - 2 Op 16
30. Kreisleriana #3-4 Op 16
31. Kreisleriana #5 - 8 Op 16
35. Noveletten #5
36. Noveletten #6

Obviously a pro at work smile Inspiring.

Pover 32. Op.18 Schumann Arabeske
3 years, self-taught? Well, that’s pretty amazing in my book smile

chopinoholic (Paul de Koning) 34. Novelette op.21 no.2
Excellent.

verqueue 37. Sonata g minor op. 22
I’m sorry you didn’t enjoy it, but, as always, it’s a pleasure watching you play.

Erin (Morodiene) 38. Op 23 No 3 Mit grosser Lebhaftigkeit
80. Op 111 No 2 Ziemlich langsam

Op111/2 really gets under your skin after a while of listening. Thanks.

PikaPianist 39. Nachtstucke Op.23, No.4 'Einfach'
Never heard chords played quite like that before. Almost guitar’ish. Interesting.

Rachel Jimenez 40. Intermezzo from Faschingsschwank aus Wien, Op. 26
41. Romanze from Faschingsschwank aus Wien, Op. 26

I have no problem with some pros in these themed recitals. It’s inspiring.

Rupak Bhattacharya 42. Romance in F-sharp Major, Op. 28 No. 2
You certainly did not ruin this piece. It was well done, and beautiful.

scorpio 43. Op. 68, No. 1 - Melody
47. Op. 68, No. 6 - The Poor Orphan

Well done. I especially liked No.1 smile

pianonewbie1 (Piano_primo)44. Soldier's March Opus 68
Very nice. Looks like fun to play.

Tom Christian 45. Trallerliedchen Op 68 No 3
Fun piece, and so even and perfect. I love the way you always play like you really mean it!

WimPiano 46. Op. 68 No 4 - Ein Choral
52. Kleine Studie - Album fur die Jugend - Op. 68 No. 14

Well done. I liked it.

Ohio_Mark 48. The Hunting Song
Tempo was just fine. Nice.

ajames 49. Op. 68, 8. Wilder Reiter
You matched the title perfectly smile

earlofmar 50. The Merry Farmer Op 68 No 10
53. Fruhlingsgesang (Spring song) Op 68 No 15
57. earlofmar - Kleine Romanze (Little romance) Op 68 No 19

Seem like some very difficult pieces to tackle after only 2 years, and I think you did a great job. Nice to hear the Farmer, finally one I’m familiar with (though never played it of course).

SwissMS/Doris 51. Opus 68 No. 12 Knecht Ruprecht
82. Opus 118 No 1 Sonata in G Theme and Variations

You have nothing to fear from Sir Ruprecht. He should give you a few oranges for that smile

ClsscLib 56. Opus 68 No 18 Reaper's Song
Well that was a bit of a surprise. From your translated title, I expected something from the ‘grim reaper’ LOL My mistake. Jolly piece, and very nice.

gingko2 58. op. 68 no. 21
81. gingko2 - op. 118 no. 1, Children's Sonata, Allegro

Well done.

malkin 59. Op. 68 No. 23 Reiterstuck
A horse would be hard pressed to passage for 2 minutes, but it really worked with this picture in my mind laugh Nice.

barbaram 60. Op 68 no 26
69. Op 68 no 39 Wintertime II

Great playing.

torquenale (Alessandra) 61. Erinnerung - op. 68 n. 28
Well done.

Sam S 62. Strange Man - opus 68 no 29
63. Album for the Young * opus 68 number 30

‘Strange Man’ does bring to mind somebody with a mean scowl. I think you bring it out well.

Anne H 65. Opus 68, No 32: Sheherazade
Very nice listen.

Recaredo/Ricardo 67. Op. 68, Album for the Young No 37. Matrosenlied (Sailors' Song)
You played it well. But what this has to do with ‘matrosen’ is beyond me.

noobpianist90 68. Winterzeit I (Wintertime I) Op. 68 No. 38
75. Vogel als Prophet (Bird as Prophet) Op. 82 No. 7

Excellent playing.

Peyton 73. Chiarina
77. Peyton - Album Leaves Opus 99, No. 2 part 1

Great playing.

pavel.k 74. Waldszenen Op.82 No.3 Einsame Blumen
Lovely played.

Pathbreaker - 79. Album Leaves Op. 99, No. 9 Novelette
Great playing.

stumbler /Dave 83. Albumblatter op 124, no 5, Phantasietanz (Fantastic Dance)
Excellent playing.

Outo 84. Gesange der Frohe op 133-1
Last, but certainly not least smile Well done.



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Enjoying listening to these performances! I love how much enthusiasm and talent there is on this forum. Hopefully I'll have some time to keep checking back here for comments.

I really enjoyed preparing and posting my recordings. I'm glad someone let me know about this recital and suggested I make a little contribution. I used it as an opportunity to brush up on a couple of short movements and also to further my work with software pianos.

All the best to everybody!


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Originally Posted by wimpiano
This is so fun to listen to!!
The wildest mix of levels I have ever heard laugh

All very inspiring. Everything is in it: short term goals, long term goals, and "some time in the year 2050" goals grin

Most of all very pleasant music, some of you make it sound effortless. In other pieces you almost see/smell the blood sweat and tears which have gone in to it.

I would like to say to all of you: Thanks so much for participating!

To those who stretched beyond their abilities, GOOD JOB!! What a challenge!

To the teachers and advanced players who took part, thanks so much for playing this beautiful music for all of us to enjoy!

This is exactly what I love most about these collaborative recitals.
We are all in it together, coming from wherever we are coming from, just trying to wrap our heads and hearts and fingers around this genius music.
Congratulations to all and thank you SO much Morodiene!


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I plan to listen to ALL the submissions over the next few days, but I'm very impressed with what I've heard this evening.

01. Pianamateur - Papillons, op. 2

Certainly you've been playing for longer than two years. Those earlier experiences you allude to obviously counted for something !! ha I found your performance of this gem of a work to be musically mature and quite delightful...as if I was discovering the piece for the first time through your performance. Well done !!

02. Valencia - Davidsbuendlertaenze Op. 6 No. 4 - Ungeduldig (Con impazienza)
03. patH (Patrick Hollstein) - Davidsbuendlertaenze op.6, Nr.8 "Frisch"
04. Valencia - Davidsbuendlertaenze Op. 6 No. 10 - Balladenmassig sehr rasch
05. Richard (zrtf90) - Davidsbuendlertaenze op.6, Nr.15 "Frisch"
06. Richard (zrtf90) - Davidsbuendlertaenze, Op. 6 No. 16, Mit gutem Humor
07. Richard (zrtf90) - Davidsbuendlertaenze Op. 6 No. 17 Wie Aus der Ferne

Thanks to all of you for giving us a taste of the musical riches of this early Schumann work. While you may consider some of your submissions to be works in progress, the bones were certainly there, and the musicality was evident throughout. I was particularly moved by Richard's reading of Aus der Ferne - but I found ALL of the submissions most enjoyable. In fact, you've inspired me to (finally) get a copy of the score and start learning portions of this amazing opus.

08. timmyab - Three pieces from Carnival op 9
I wouldn't say that any of these pieces are particularly easy. You play them quite well with an obvious understanding of the composer's intent. Well done !!

09. Greener / Jeff Green - Carnaval, Chopin Op. 9, No. 12
Perhaps my favorite selection from Carnaval, and I enjoyed your rendition. I can't recall having heard a Heintzman upright before. Is your Heintzman Canadian built (pre 1989)??




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Originally Posted by Jytte


pianonewbie1 (Piano_primo)44. Soldier's March Opus 68
Very nice. Looks like fun to play.




I don't know why , but this comment makes me laugh,,, I guess I imagine someone saying "mmm looks like fun"" and because the melody is very bouncy and sort of silly....
I don't understand how it is titled "a soldier"s march"... but.. thanks



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Originally Posted by piano_primo_1
Originally Posted by Jytte


pianonewbie1 (Piano_primo)44. Soldier's March Opus 68
Very nice. Looks like fun to play.




I don't know why , but this comment makes me laugh,,, I guess I imagine someone saying "mmm looks like fun"" and because the melody is very bouncy and sort of silly....
I don't understand how it is titled "a soldier"s march"... but.. thanks


Toy soldiers. . . . grin


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Thank you Morodiene and Greener for putting this together. 84 pieces, it's impressive!

I'm quite familiar with Schumann's works and it's always a treat to listen to new performances and interpretations of pieces one knows well, especially since the level here is so high. But there's also a lot I didn't know, and will be delighted to explore. All pieces that are remotely attainable, I want to try to learn. Thank you everybody!

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I really enjoyed listen all the submissions.
Congratulations to all the pianists thumb


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Originally Posted by Jytte
Morodiene and Sam S Thank you for doing this enormous recital thumb ...

ClsscLib 56. Opus 68 No 18 Reaper's Song
Well that was a bit of a surprise. From your translated title, I expected something from the ‘grim reaper’ LOL My mistake. Jolly piece, and very nice.



Thanks, Jytte. I first heard the piece on Chenyin Li's demonstration CD for Pianist Magazine before I ever saw the title, and I was as surprised as you were.

Farming has become so mechanized -- and so few people are engaged in it these days -- that (at least in English) we hardly ever hear the word "reaper" except in reference to the "Grim Reaper." But of course the word originally referred to harvesting crops, and the subject of this piece clearly has been involved joyfully in a bountiful harvest.

So there's nothing grim about this piece at all, although there are a few gnarly technical challenges for the developing pianist!


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I've only sampled a small snippet of this recital, yesterday. About 20 performances or so. I'll be listening to the recital in it's entirety throughout the week. From what I have experienced thus far, what an outstanding lineup of performances of these great Schumann works. Five years ago I'd never had imagined participating in a classical themed recital, let alone along side musicians of this calibre. I'm thrilled to be participating.

Thank you to all for listening and your nice comments on my submission; Peter, Jytte and Carey.

Originally Posted by carey
...
Is your Heintzman Canadian built (pre 1989)??


It is a 1978. Yes, I believe it was manufactured right here in Toronto. This was before Heintzman was sold and manufacturing moved to China. It is a decent enough piano, but I am now the 3rd owner and it is starting to wear. My piano tech. is not as much of a big fan of it as I am, and is forever trying to get me to upgrade to a Yamaha. He has me convinced now and eventually I will. Of course, he is also the one that will be selling me the new Yamaha. So he has a vested interest in not liking my Heintzman so much. smile

Originally Posted by sinophilia
Thank you Morodiene and Greener for putting this together. 84 pieces, it's impressive!
...


Thank you, Diana.
Indeed the recital prep. and launch has gone like clockwork. Slight correction though; All due to Morodiene and her support team. I had no involvement in this recital. Thank you though. I forward your thanks to the Sam, stumbler and others that were involved in helping make this recital come off so well.

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Right, first off I’m listening to Op 68 since that’s where my own contributions fit in.
I hadn't intended to comment on all of them, but it seems that I have! I won't manage to do the whole recital, I'm sure, but I do hope to listen to it all.
Thanks to Morodiene for organising & to everyone for participating

43. scorpio - Op. 68, No. 1 - Melody
Nice job – I learned this recently so I know it is not as simple as it sounds. I didn’t attempt to get it to your level of polish either, but it’s a really nice little piece

44. pianonewbie1 (Piano_primo) - Soldier's March Opus 68
Great job, I found your notes really interesting too

45. Tom Christian - Trallerliedchen Op 68 No 3
Great job, lovely rippling accompaniment

46. WimPiano - Op. 68 No 4 - Ein Choral
Your notes on the background to the piece are interesting – this is really so different to everything else in this opus, isn’t it? Very nicely done

47. scorpio - Op. 68, No. 6 - The Poor Orphan
Very nice job

48. Ohio_Mark - The Hunting Song
Lovely, a nice fun pace

49. ajames - Op. 68, 8. Wilder Reiter
Great pace, you carry off the tempo really well.

50. earlofmar - The Merry Farmer Op 68 No 10
Despite your protestions, great job – and how satisfying to return to something that was previously too difficult and be able to *really* measure your progress

51. SwissMS/Doris - Opus 68 No. 12 Knecht Ruprecht
One of my faves from this opus. Really polished, great job.
Doesn’t sound easy at all!

52. WimPiano - Kleine Studie - Album fur die Jugend - Op. 68 No. 14
Really pretty piece, and it flows beautifully

53. earlofmar - Fruhlingsgesang (Spring song) Op 68 No 15
You do a lovely job with this, it’s a pleasure to listen to.
I really relate to your comments, I feel the same about my Schumann journey over the last 6 months or so.
I’m interested in your comments re pedal – I would have thought for Schumann (and Romantic era in general), the absence of a pedal marking doesn’t have to mean “don’t use”, more "do what you feel like". In one of my two, I use it only when indicated, but I could never have made the other one presentable without copious pedalling!


54. Richard (zrtf90) - Erster Verlust, Op. 68 No. 16
Thanks for picking this up, it’s lovely

55. peterws - Roaming in the Morning op 68 17
This is great, another one of my faves from this Opus

56. ClsscLib - Opus 68 No 18 Reaper's Song
Very nicely done

57. earlofmar - Kleine Romanze (Little romance) Op 68 No 19
Hey, at least this also *sounds* challenging – nothing worse that challenging pieces that sound easy :-)
Great job

58. gingko2 - op. 68 no. 21 ***
I wonder why he left 3 untitled in this opus?
I really like this, it doesn’t sound easy at all.

59. malkin - Op. 68 No. 23 Reiterstuck
Nothing wrong with dressage :-)
Good contrast with your dynamics

61. torquenale (Alessandra) - Erinnerung - op. 68 n. 28
Oh, this is really polished, lovely!

62. Sam S - Strange Man - opus 68 no 29
I’m not hearing the errors at all, rather I’m feeling intimidated by all those chords (one of my many weak areas!). And by the Strange Man, of course! Great job.

63. Sam S - Album for the Young *** opus 68 number 30
Lovely piece, and such a contrast in style from no 29.

64. Carey (Phil Jones) - Kriegslied (Song of War) Opus 68 No. 31
Sounds really fun to play!

65. Anne H - Opus 68, No 32: Sheherazade
This is a lovely piece, one of my favourites from this Opus I think

66. peterws - Mariners Song
OK, this is my *actual* favourite from this Opus. When the recital was first launched I listened through all of Opus 68 to decide what to do. This was my favourite, and then I looked up the difficulty and backed quickly away :-)
Just as well, since my supposedly easier no 39 proved hugely challenging to me! Hopefully someday I’ll come back to this and play it, for today I’m happy to sit back and enjoy your lively rendition – great stuff!

67. Recaredo / Ricardo - Op. 68, Album for the Young No 37. Matrosenlied (Sailors' Song).
Great job Ricardo. I think a lot of us have been pushing our boundaries with this recital, but you carry it off very well indeed.


68. noobpianist90 - Winterzeit I (Wintertime I) Op. 68 No. 38
Particularly interesting to listen to this as a partner piece to my Winterzeit II – very nice indeed

70. Carey (Phil Jones) - Nordisches Lied (Northern Song) Opus 68 No. 41, Figurieter Choral (Figured Choral) Opus 68 No. 42,
Sylvesterlied (New Year's Eve) Opus 68 No. 43

Enjoyed listening to all three of these. I think I like no 42 best

Last edited by barbaram; 03/16/15 10:27 AM.

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Originally Posted by Greener

It is a 1978. Yes, I believe it was manufactured right here in Toronto. This was before Heintzman was sold and manufacturing moved to China. It is a decent enough piano, but I am now the 3rd owner and it is starting to wear. My piano tech. is not as much of a big fan of it as I am, and is forever trying to get me to upgrade to a Yamaha. He has me convinced now and eventually I will. Of course, he is also the one that will be selling me the new Yamaha. So he has a vested interest in not liking my Heintzman so much. smile

GRRR your technician makes me angry. The Heintzman is so much more authentic..

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Originally Posted by barbaram

46. WimPiano - Op. 68 No 4 - Ein Choral
Your notes on the background to the piece are interesting – this is really so different to everything else in this opus, isn’t it? Very nicely done

Thanks! Yeah it is very different, I get why it is in the album though as one of the first pieces. It helped me get started with syncopated pedaling. Really a wonderful hymn.

Originally Posted by barbaram

52. WimPiano - Kleine Studie - Album fur die Jugend - Op. 68 No. 14
Really pretty piece, and it flows beautifully

Thanks! It looks deceptively easy (and it probably is just easy) but it took me so much effort to get it smooth..

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While I'm thinking of it - here are the Youtube videos I made of 4 of my 5 submissions. They include "additional comments" that I didn't think to incorporate when I submitted the original recordings in MP3 format last week.

Am continuing to listen to and enjoy the recital submissions - along with the individual comments !!!!!

Song of War (Kriegslied) Opus 68 No. 31

I've sometimes wondered why Schumann, in 1848, would include a "Song of War" in an album of pieces for children. Nevertheless, children (and adults) have been playing "war games" for centuries.

https://youtu.be/kaQqKwug-IQ?list=UUhgp9Wg9ryMesmZyLgVqiCw


Northern Song (Nordisches Lied) Opus 68 No. 41

I first encountered this haunting little piece at around age 12. Only years later did I understand that Schumann wrote it as a greeting to this friend, Neils Gade - and that the first four notes of the melody line are G-A-D-E.

https://youtu.be/7Ly1WKb_imI?list=UUhgp9Wg9ryMesmZyLgVqiCw


Figured Chorale (Figurieter Choral) Opus 68 No. 42

The fourth selection in the Album for the Young ("Chorale") offers a basic version of this same hymn tune ("Freue dich, o meine Seele" -- "Rejoice, O My Soul") which I recall "analyzing" as a harmony student during my freshman year in college. This "figured" arrangement (No. 42) - in its simplicity - takes the music to another realm.

https://youtu.be/Cri8jWrM8qM?list=UUhgp9Wg9ryMesmZyLgVqiCw

Soaring (Aufschwung) Opus 12 No. 2

Started to learn this when I retired five years ago - but got distracted and put it aside until the opportunity arose to participate in the Schumann Recital. I consider this a work in progress. Still have small issues to address in terms of pacing, touch, nuance, etc. The heavy action on my Mason and Hamlin BB makes this particularly challenging to play - but at least the piece is memorized !!!!! grin

https://youtu.be/Bzz8bXn3O4A?list=UUhgp9Wg9ryMesmZyLgVqiCw





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Originally Posted by wimpiano
Originally Posted by Greener

It is a 1978. Yes, I believe it was manufactured right here in Toronto. This was before Heintzman was sold and manufacturing moved to China. It is a decent enough piano, but I am now the 3rd owner and it is starting to wear. My piano tech. is not as much of a big fan of it as I am, and is forever trying to get me to upgrade to a Yamaha. He has me convinced now and eventually I will. Of course, he is also the one that will be selling me the new Yamaha. So he has a vested interest in not liking my Heintzman so much. smile

GRRR your technician makes me angry. The Heintzman is so much more authentic..
Authentic indeed !!! Greener - So glad you have a Canadian built Heintzman. smile But, you are correct, over time pianos start to wear out. I have a 1976 Everett studio upright (built in South Haven, Michigan) that I purchased new way back then. Still holds a tune and plays well, but can't really be used for recording. Still can't get myself to part with it - due to the sentimental value - plus it looks great in our family room !!


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Originally Posted by carey

Northern Song (Nordisches Lied) Opus 68 No. 41

I first encountered this haunting little piece at around age 12. Only years later did I understand that Schumann wrote it as a greeting to this friend, Neils Gade - and that the first four notes of the melody line are G-A-D-E.

https://youtu.be/7Ly1WKb_imI?list=UUhgp9Wg9ryMesmZyLgVqiCw


Thanks! I'm studying this one as well, I find it rather difficult with all the big chords. It has a nice nordic sound to it, sort of like Grieg, like Ase's Death. Schumann has captured that beautifully, and so did you in your beautiful recording!


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37. verqueue - Sonata g minor op. 22
A pity that you didn’t like it, though I suppose it’s useful to identify what you don’t like too.

As a relatively uneducated listener, your lack of connection to the piece wasn’t really apparent to me. The first movement has a real wow factor and your playing is amazing throughout as usual.

I’m listening to your Chopin Ballade in F minor now as contrast – it seems to me that you really “feel” the Chopin, that you are communicating through the music in a way that isn’t apparent with the Schumann.
BUT I strongly suspect that I only think this because I already know how you feel about the Schumann. And also, of course, because any decent performance of Chopin has to pack a huge emotional punch in a way that Schumann does not necessarily require.

38. Erin (Morodiene) - Op 23 No 3 Mit grosser Lebhaftigkeit
Really lovely. I will admit that I do not love all of Schumann’s work equally, but I really enjoyed this.

39. PikaPianist - Nachtstucke Op.23, No.4 'Einfach'
I really liked the rolled chords in this, they sound beautiful


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Definitely positively my last comments for today!

82. SwissMS/Doris - Opus 118 No 1 Sonata in G Theme and Variations

First thing, to be clear, this is already a very good performance. If it wasn't an exam piece, I'd be saying "great job, fun variations!" and moving along ...

Because it is an exam piece, I’ve listened to this a couple of times through while looking at the score in the hopes of being able to give some useful comments. But, you know, take what I have to say with a pinch of salt!

Theme: be careful with the rests in measures 5+6 (first 4 measures seemed fine to me). You could make more of the accents.
Before looking at the score, I would have said the opening felt a little plodding. Now I realise the tempo is pretty slow so I guess my quibble is with Schumann and not you :-)

Var 1: Lovely. The melody is nicely voiced rel to the accompanying quavers. Not sure about dynamics relative to the preceding section, is the "p" really "p"? Maybe a little more delicacy here.

Var 2: I really like the triplets, for me they are maybe taking too much of a back seat

Var 3: Very nice. There's less "busyness", so you have more work to do to keep it interesting. Use a bit more dynamic contrast here I think.

Var 4: Great, love this part

Zuruckhaltend I assume is ritenuto? Maybe this is held back a little more than I'd like, but as with the opening "ziemlich langsam", it *is* what's indicated on the score

Etwas lansamer: Don't let it get clunky as you slow it down

Overall, this is already very good. To make it great I think focus even more on tone, delicacy and dynamics

83. stumbler / Dave - Albumblatter op 124, no 5, Phantasietanz (Fantastic Dance),

Wow, this blew me away. Absolutely great!

84. Outo - Gesange der Frohe op 133-1 (to do)
Well done Outo for getting this in. Despite your dissatisfaction, it’s a very creditable performance. And we have all been on this journey and understand the struggle involved!!


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I am totally blown away by the quality of playing in this recital. This collection is truly a treasure. My comments on many are limited what I found interesting in the piece. The playing is all top notch.

01. Pianamateur - Papillons, op. 2 What a wonderful way to open the recital. This is a beautiful piece and you really did it justice. Very nice presentation.

02. Valencia - Davidsbuendlertaenze Op. 6 No. 4 - Ungeduldig (Con impazienza) Another beautiful piece, well played. I like you pace, and the dreaminess in the piece.

03. patH (Patrick Hollstein) - Davidsbuendlertaenze op.6, Nr.8 "Frisch" Whoah, there is a lot packed into that one minute! A virtuosic performance!

04. Valencia - Davidsbuendlertaenze Op. 6 No. 10 - Balladenmassig sehr rasch This one has a sense of urgency about it. Again I like the slower tempo. There is so much going on in here, it is nice to be able to hear the harmonies. Really nice job on this one!

05. Richard (zrtf90) - Davidsbuendlertaenze op.6, Nr.15 "Frisch" This piece has a lot of drama and contrast. I love your interpretation. The arpeggios were lovely and nicely subdued. Gorgeous.

06. Richard (zrtf90) - Davidsbuendlertaenze, Op. 6 No. 16, Mit gutem Humor This is quite a contrast to the preceding piece. It is an unusual piece, but it sounds like you have captured the feel that Schumann wanted.

07. Richard (zrtf90) - Davidsbuendlertaenze Op. 6 No. 17 Wie Aus der Ferne This is a lovely piece, with a lot of variety that you tied together very well. Really nice playing.

08. timmyab - Three pieces from Carnival op 9 Three nicely contrasting pieces. I really like your interpretation and pacing. Wonderful playing.

09. Greener / Jeff Green - Carnaval, Chopin Op. 9, No. 12 Very nice, subdued arpeggios and singing melody. Great job with this challenging piece.

10. Richard (zrtf90) - Des Abends, Op. 12 No. 1 A nice sensitive presentation of this beauty. It has very interesting layers of sound and rhythmic play between the hands, and the cantabile melody sang beautifully.

11. Carey (Phil Jones) - Aufschwung (Soaring) Opus 12 No. 2 Soaring is a great name for this piece. It is an exuberant work. Beautifully played.

12. dire tonic - Warum? Op. 12 no.3 Why indeed? Was the piece searching for an answer? Very nicely played!

13. FarmGirl - Op12 No 4 Grillen This is an outstanding job after being sick for four weeks! Very expressive playing and nice dynamic control.

14. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 5 In der Nacht
15. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 6 Fabel
16. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 7 Traumes-Wirren Beautiful playing. Thank you for introducing me to these lovely pieces! I appreciate your including you visions of the pieces, it added to the listening.

17. AndyPlatt - Ende vom Lied, from Fantasiestuck, Op. 12, No 8 This must have been very difficult with an injured hand. It sure was not evident in your playing. Very nice job!

18. sinophilia (Diana) - Op. 15 no. 1 - Von Fremden Laendern und Menschen Excellent job with this. I can tell you really love the piece. To play this after three years is a great accomplishment!

19. Forrest Halford - Schumann Op. 15, #2 "A Curious Story" This sounds like a child skipping along. Nicesly played!

20. Forrest Halford - Schumann Op. 15, #3 "Catch Me" Lightly dancing on the keys! In has the feel of a cat silently skittering along. Great dynamic control!

21. peterws - Pleading Child A very convincing child, melting a parent’s heart. Nicely played.

22. dynamobt/Marilyn - Perfect Happiness Op 15 no 5 It is amazing how much Schumann packs into these short pieces! I really like your expressive playing on this.

23. ElaineAllegro - Opus 15, Kinderszenen, #6: Wichtige Begebenheit (Great Adventure) I like your vision of this piece. It sounds like a work out in one minute. Nicely played.

24. dynamobt/Marilyn - Dreaming Op 15 no 7 I admire your ability to get this in one take! I like the slow dreamy pace. This is one piece on my some day list. Beautifully played.

25. Forrest Halford - Schumann Op. 15, #8 "By the Fireside: Another gorgeous piece, well played. I like the way you played the finale especially well.

26. Forrest Halford - Schumann Op. 15, #9 "Knight of the Rocking Horse" I can definitely visualize a boy on the rocking horse with his magic sword. Very nice.

27. Forrest Halford - Schumann Op. 15, #11 "Frightening" Ha! It sounds like you had your own fightening high blood pressure kind of day! With all that, this is still a beautiful rendition of this piece. Truly steady under pressure!

28. Moonsh1ne (Ken) - Op. 15, No .13 Kinderszenen - Der Dichter Spricht (The Poet Speaks) I like your pacing, and rubato. Very nicely played, and amazing for 18 months!

29. Tim Adrianson - Kreisleriana #1 - 2 Op 16
30. Tim Adrianson - Kreisleriana #3-4 Op 16
31. Tim Adrianson - Kreisleriana #5 - 8 Op 16
35. Tim Adrianson - Noveletten #5
36. Tim Adrianson - Noveletten, #6

That was an amazing job on what is clearly virtuosic work. Wonderful job.

32. Pover - Op.18 Schumann Arabeske Excellent playing! I am impressed you could do such a wonderful job on this after only three years of playing. Nice dynamics and use of rubato.

33. peterws - Novelletten 21 1 This piece sounds like it is perfect for your style. It certainly does roll on as you say, but it has a underlying melancholy to it. Beautifully played.

34. chopinoholic (Paul de Koning) - Novelette op.21 no.2 That sounds extremely challenging, but you are clearly up to the task. There is so much going on. Wonderfully played.

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Loved your Faschingsschwank interpretation - do you play the whole opus? I have small hands, and some bits of the Allegro and Finale are a challenge for me to play up to speed. The Intermezzo has a difficult mood to catch. I would have loved the playfulness of the Scherzino added between the two parts you played.

And what piano did you use? (I guess I should go back into the files for that info. I wish I had more time!)

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barbaram - Thanks for the detailed analysis! It is greatly appreciated. I have played with the tempo, and I may push it up a bit. It seems plodding in the opening to me too! I have played around with the triplets, so I appreciate your advice to bring them out a bit more. Thanks again!

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Today is super busy so I haven't had a chance to comment, but I do plan on listening and commenting this week. I'm very excited to hear everyone! laugh


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I really want to comment on these performances, but I have only listened to the first few and have not had time to go through more than 10, but I am really looking forward to any break I have to do that! I have to see, even from the small sample I've heard, it is really humbling and motivating at the same time to know that I'm part of such an accomplished forum and pianist with very refined performances.

So honestly, thank you for the evident effort and attention to detail you all bring out.

Morodiene, thank you for giving us the opportunity to share our music and our struggles, it really is wonderful. smile smile

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Next opus... doing them in random order...

10. Richard (zrtf90) - Des Abends, Op. 12 No. 1
This was very well played and you really made the piano sing. This is the piece I liked best in this op.

11. Carey (Phil Jones) - Aufschwung (Soaring) Opus 12 No. 2
That was fast and furious and a lot of drama! Great playing!

12. dire tonic - Warum? Op. 12 no.3
Nice playing, I could definitely hear the question...did you find an answer? smile

13. FarmGirl - Op12 No 4 Grillen
Being sick and having to record, that must have been hard. So congratulations on succeeding so well!

14. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 5 In der Nacht
15. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 6 Fabel
16. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 7 Traumes-Wirren
That was some impressive playing, all 3 of them!

17. AndyPlatt - Ende vom Lied, from Fantasiestuck, Op. 12, No 8
So glad your wrist wasn't stopping you from playing. Very well done!

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I have listened to just a few of this wonderful collection on Schumann's music so far, and hope to find the time to comment on most of them in the next few days. But what I have heard so far is fabulous -it makes me feel very honoured to be part of such an inclusive, high-quality recital. Thank you for letting me be a part of it, and to Morodiene for organising.
To those of you who have taken the time and effort to listen to my submission (all 13 minutes of it!) and leave comments, thank you! I'm really pleased that my efforts to learn Papillons have paid off at least to some extent!

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25, 26, 26 forrest halford

Really lively playing on this trio. Loved them. I bought the op 15 album, some super stuff in there which I'm working on now. . . .you put a lot into these and that ole piano of you4s sounds really well. Its just great working through a one pager( maybe 2) in snappy fashion. Great work,Mani.


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Originally Posted by LXXXVIIIdentes
Loved your Faschingsschwank interpretation - do you play the whole opus? I have small hands, and some bits of the Allegro and Finale are a challenge for me to play up to speed. The Intermezzo has a difficult mood to catch. I would have loved the playfulness of the Scherzino added between the two parts you played.

And what piano did you use? (I guess I should go back into the files for that info. I wish I had more time!)


Thanks! I have played the whole opus, but not for years. These two movements I felt like I could manage quickly. One of these days I'll record the whole thing!

I played on a Yamaha P-140 connected to my computer. I controlled Pianoteq 5 D4 with it. Used Reaper to record.

Just received shipment of a Kawai VPC-1 today, so I'm looking forward to messing with it.


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Originally Posted by Rachel J
Just received shipment of a Kawai VPC-1 today, so I'm looking forward to messing with it.

Apologies for a temporary diversion off-topic. I've been using the VPC1 for a while now and really like it. I know those on the digital piano forum would appreciate your feedback on it if you find yourself with a few moments to spare. The dominating issues are playing weight and key length. I think it's generally held to be the heaviest DP action - not everyone's cup of tea - with the 'for's arguing that it helps build strength and adaptability to real AP action while the 'anti's worry about tension, injury and sluggishness in the playing. The VPC1's key length being shorter to the fulcrum than Kawai's Grand Feel (and the upcoming GF2) means having to use a little more playing pressure as you move towards the back of the key. For an already heavy action this could be the final deal-breaker.

I'd be particularly interested in your experience of VPC1's let-off. I find it a hazard when trying to play pp to ppp - a grave risk of silent strike (apparently, the mechanism is removable!).

(your Schumann contribution is wonderful, btw!)

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Originally Posted by dire tonic
(your Schumann contribution is wonderful, btw!)


Thanks, dire tonic, I really enjoyed your performance on the VPC-1 with Garritan CFX. It sounds great! The VPC-1 sure is *different*! When I've had some time to think it through thoroughly, I'll be writing a detailed blog post addressing everything you mentioned.


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Hi Rachel,

Your intermezzo was beautiful. I only discovered the piece after this recital was first announced and really considered claiming it. But the mood of the piece is too similar to what I usually play so I thought I should pick something different. I'm so glad you played it and gave such a sensitive performance.

I have many recordings of my piece (Op. 99/9) using the Ivory II ACD plugin. I will share one at some point. The problem is that the piece keeps getting better with each recording so I feel like I should keep working on it. That's how much I'm enjoying this piece is that I'm still playing it quite often. The constant 4-5 triplets are not a strain anymore so that's been quite encouraging. The entire Op. 99 is another of my favorite sets and I might try to work through all of it (over several years!).

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Originally Posted by Rachel J
Originally Posted by dire tonic
(your Schumann contribution is wonderful, btw!)


Thanks, dire tonic, I really enjoyed your performance on the VPC-1 with Garritan CFX. It sounds great! The VPC-1 sure is *different*! When I've had some time to think it through thoroughly, I'll be writing a detailed blog post addressing everything you mentioned.


I second what you said about the Garritan. So I had a look at the website. Before I got to the price, I looked at the computer requirements. . . . &%#&@&%££!!!!! New computer needed. . . .eh bien . . .maybe Pianoteq is pretty good after all!


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dire tonic - does Garritan CFX support continuous/half pedaling for sustain pedal or una corda pedal? I thought I read in the other forum that it does not but a patch was suppose to fix it? Did they release the fix yet?

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Originally Posted by Rachel J
The VPC-1 sure is *different*! When I've had some time to think it through thoroughly, I'll be writing a detailed blog post addressing everything you mentioned.

That'll be of considerable interest - please do leave a link somewhere in PW.

Originally Posted by 8 Octaves
dire tonic - does Garritan CFX support continuous/half pedaling for sustain pedal or una corda pedal? I thought I read in the other forum that it does not but a patch was suppose to fix it? Did they release the fix yet?

- alas, no! I'd be completely unsurprised if they don't do a fix for the pedalling which is simply on/off. But it does have a una-corda sample set which I think works in very well with the overall character of the piano. The pedalling hasn't bothered me so far but that's probably more a reflection of my unrefined usage and the kind of thing I play.
There are still gremlins in the sound which I'm trying to chase out. I noticed distortion in Warum? which wasn't evident to me earlier. It might be a plugin rather than the piano. On balance I like the sound but it's far from perfect - just like all the other libraries!

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Opus 2, opus 6 (Davidsbuendlertaenze) and opus 9 (Carnival)

01. Pianamateur - Papillons, op. 2 Wow! Amazing start, these are tricky pieces. My teacher had urged me to consider them but I felt it too big a task. You make them sound easy. I really loved the variety. The dynamics and phrasing were superb. At times you could feel those butterflies fly! A real tour de force!!

02. Valencia - Davidsbuendlertaenze Op. 6 No. 4 - Ungeduldig (Con impazienza) The tempo is fine, it sounds pretty polished to me. You got the rhythmic elements right and it was dance like, great playing!

03. patH (Patrick Hollstein) - Davidsbuendlertaenze op.6, Nr.8 "Frisch" The feel of this piece really comes across - totally fresh! I really loved the playfulness and it absolutely rockets, crazy stuff - excellent!

04. Valencia - Davidsbuendlertaenze Op. 6 No. 10 - Balladenmassig sehr rasch Like your first piece, the tempo is actually great. I really enjoyed hearing the play between the voices. It's rhythmically crazy but you handle it without letting that show. And the melody is really nicely phrased. Great.

05. Richard (zrtf90) - Davidsbuendlertaenze op.6, Nr.15 "Frisch" Was Schumann running out of names I wonder? This has such a wonderful feel to it, the melody really comes across well, so touching. Your phrasing is wonderful and I love how it builds through the piece.

06. Richard (zrtf90) - Davidsbuendlertaenze, Op. 6 No. 16, Mit gutem Humor The opening is well phrased, the melody within all those chords is tricky but you bring it off very well. I love the interplay of the voices in this piece. Of all the Schumann pieces so far, this one has that feel that I had to try to find for Ende vom Lied though I think you got it better.

07. Richard (zrtf90) - Davidsbuendlertaenze Op. 6 No. 17 Wie Aus der Ferne Really wonderful, there is a lot in this piece, different colors, different textures and you make it whole and coherent. It was shaped beautifully and comes across really well. Great!

08. timmyab - Three pieces from Carnival op 9 Fabulous playing, you really capture this. The dynamics are great, I loved how they are phrased. Beautiful!

09. Greener / Jeff Green - Carnaval, Chopin Op. 9, No. 12 You can feel the Chopin influence! I really loved how you shaped the melody and kept the voicing clear. Little tempo adjustments really made it shine.


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Originally Posted by Pathbreaker
Hi Rachel, Your intermezzo was beautiful. I only discovered the piece after this recital was first announced and really considered claiming it. But the mood of the piece is too similar to what I usually play so I thought I should pick something different. I'm so glad you played it and gave such a sensitive performance.


THANK YOU!


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I had some time to listen to a few more tonight. Great stuff!


37. verqueue - Sonata g minor op. 22 More virtuosic playing! Beautiful job.

38. Erin (Morodiene) - Op 23 No 3 Mit grosser Lebhaftigkeit I love this piece with its grandeous arpeggios. I like the mood change in the middle, like a introspective reflection, while the beginning and end seem like a celebration of life. Beautiful playing.

39. PikaPianist - Nachtstucke Op.23, No.4 'Einfach' Einfach (Simple) it isn’t. That must have been a challenge to keep all of those rolled chords even with the jumps, but you make it sound easy. You do a nice job of relaying the quiet mood of the piece.

40. Rachel Jimenez - Intermezzo from Faschingsschwank aus Wien, Op. 26 I love the subdued arpeggios underlying the piece. Truly a wonderful job. I am glad you joined the recital!

41. Rachel Jimenez - Romanze from Faschingsschwank aus Wien, Op. 26 This one is quite a contrast to the preceding one. It is quiet and reflective, while the previous one is exuberant. I love your pacing of the piece.

42. Rupak Bhattacharya - Romance in F-sharp Major, Op. 28 No. 2 You are way to hard on yourself. This is a recording to be proud of. You captured the quiet beautiy of this piece. Your melody is well projected over the subdued accompaniment. Nicely played.

43. scorpio - Op. 68, No. 1 - Melody Very nice, even playing with a well projected melody. Nice!

44. pianonewbie1 (Piano_primo) - Soldier's March Opus 68 I think Schumann’s idea of young beginner, is different than ours today! This piece does sound deceivingly difficult. You did great.

45. Tom Christian - Trallerliedchen Op 68 No 3 I like the playful character of this piece. You did a great job with it, with a nice balance between the hands and steady rhythm.

46. WimPiano - Op. 68 No 4 - Ein Choral Nice, even well voiced chords! It sounds like you did well in learning to use the pedal correctly. Your changes sounded clean!

47. scorpio - Op. 68, No. 6 - The Poor Orphan I like your dynamics and pacing in this piece. It had a sense of sadness to it. Nicely done.

48. Ohio_Mark - The Hunting Song I can see the horses cantering across the field after the fox. Nice playing!

49. ajames - Op. 68, 8. Wilder Reiter Oh this little piece is deceivingly difficult with its fast staccato. You did a great job on it, and played it at a good pace.

50. earlofmar - The Merry Farmer Op 68 No 10 This is another one that is deceptive! It is great that you came back to it, and mastered it this time. You definitely captured the merry in Merry Farmer!

51. SwissMS/Doris - Opus 68 No. 12 Knecht Ruprecht Your getting close – keep working!

52. WimPiano - Kleine Studie - Album fur die Jugend - Op. 68 No. 14 This a pretty piece. Your arpeggios were nice and even, and play between the hands sounded great. Very nice.

53. earlofmar - Fruhlingsgesang (Spring song) Op 68 No 15 I understand the “finger gymnastics” issue! This piece sounds like a difficult one to maintain a coherent theme with, not because of your playing, but because of the irregularity of the piece. I think this piece needs the sustain pedal to hold it together. That is a lot of finger legato to do! Nice job projecting the melody without pedal!

54. Richard (zrtf90) - Erster Verlust, Op. 68 No. 16 I love this piece. Nice sensitive playing!

55. peterws - Roaming in the Morning op 68 17 I like your vision of the piece. It is definitely exuberant! Nice playing.

56. ClsscLib - Opus 68 No 18 Reaper's Song This was a cheerful Reaper! Nice job with the variation in touches, from staccato to legato. Great playing.

57. earlofmar - Kleine Romanze (Little romance) Op 68 No 19 Very nice job on this one! You had a nice balance between the melody and accompaniment, and very nice dyanamics.

58. gingko2 - op. 68 no. 21 *** I know the well the difficulties of this piece. I played it last year, and found it quite the finger twister. I thought you did an excellent job on it. You managed continuity of the melody line and good legato with all that.

59. malkin - Op. 68 No. 23 Reiterstuck This is possibly my favorite piece from this opus. I thought you did really well with it. As an former Grand Prix rider, I can here the Piaffe and Passage, as well as an extended canter in the forte section! Nicely played.

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Opus 12 (complete!!!) - Fantasiestucke

10. Richard (zrtf90) - Des Abends, Op. 12 No. 1 One of Schumann's most beautiful pieces and you show exactly why. The melody is lovingly shaped, nice tempo adjustments and dynamic shading. It's interesting that Schumann chose a very introspective opening to Fantasiestucke; obviously he wanted an evening mood to begin. And that's what you bring to the piece - wonderful!

11. Carey (Phil Jones) - Aufschwung (Soaring) Opus 12 No. 2 Wonderful control over this very tricky piece. I loved the contrast with the different touches though you manage to keep it consistent and the melody present at all times. Fabulous!

12. dire tonic - Warum? Op. 12 no.3 The first thing I noticed was your wonderful interplay of the delicate voices in this piece. You bring a wonderful warmth to this piece, nice dynamics and phrasing. Great!

13. FarmGirl - Op12 No 4 Grillen It's fabulous how we have all the movements, you get to hear the switch between Florestan and Eusebius clearly! The lack of practice doesn't really show, you capture the playfulness in the piece well. The chords are well voiced and flow nicely. As someone who has a noisy pedal, I do hear that which is a teeny bit distracting. Hopefully fixable. That sigh of relief at the end is wonderful!!

14. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 5 In der Nacht You really do a wonderful job of contrasting the sections but keeping the piece together as a consistent whole. I love the dynamics, nice tempo - it really is so beautiful in the slower section. A superb ending - Wonderful!

15. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 6 Fabel Another great contrast between the sections, perhaps easier to bring off given the tempos but you do it extremely well. I really like the tempo in the slower section - it would be easy to rush and you take the perfect time. Nice interplay of voices in the Florestan sections.

16. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 7 Traumes-Wirren A real tour de force taking on these three movements. Really my comments from the previous two are echoed here. You do a great job of keeping the melody present but with a perfectly voiced accompaniment. The interplay of voices is wonderful.

17. AndyPlatt - Ende vom Lied, from Fantasiestuck, Op. 12, No 8 It's interesting hearing this in the context of the rest of the movements. It does show up my slightly slower tempo but overall it holds up well. Glad to play my part! Sorry about the squeaky pedal, it was just tuned and I'm not sure if the tuner did something or it's just remnants of a tough cold winter. He's a friend, I'll ask him.



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Opus 15 - Kinderszenen

18. sinophilia (Diana) - Op. 15 no. 1 - Von Fremden Laendern und Menschen Yes, a beautiful piece I know why you chose it! Nicely played, the melody is nicely phrased; perhaps the left hand could be a teeny bit quieter though I see that's something you've worked hard on. Lovely and dreamy!

19. Forrest Halford - Schumann Op. 15, #2 "A Curious Story" Your playing does, indeed, tell a story. You really use dynamics, phrasing and - particularly - tempo adjustments to really bring this to life. Great!

20. Forrest Halford - Schumann Op. 15, #3 "Catch Me" Very difficult but you dispatched it very well! It really had the feel of a chase and you had it rocketing along.

21. peterws - Pleading Child These short pieces are wonderful, but they finish before they start! I think you did a wonderful job of capturing a mood. Whistful but not maudlin. But did it finish where it should? Felt too abrubt?

22. dynamobt/Marilyn - Perfect Happiness Op 15 no 5 This is another performance that has just the right mood. The melody and, in particular, the interplay between the voices was very well done. Wonderful!

23. ElaineAllegro - Opus 15, Kinderszenen, #6: Wichtige Begebenheit (Great Adventure) This feels like we are going on a big march, nicely done. You voiced the chords well, keeping the melody present.

24. dynamobt/Marilyn - Dreaming Op 15 no 7 One of the pieces my teacher wanted me to do but I think you grabbed it quickly? I love this piece and I love the performance - the melody soars just where it should with lovely rubato and nice control of the dynamics. I loved it!

25. Forrest Halford - Schumann Op. 15, #8 "By the Fireside: Another wonderful performance, with some great phrasing. Nothing more to add!

26. Forrest Halford - Schumann Op. 15, #9 "Knight of the Rocking Horse" Giddy up! Yes, this feels like we're on that horse, with a great sense of fun to add. Wonderful.

27. Forrest Halford - Schumann Op. 15, #11 "Frightening" Well, it may have been a rush with crashing plates but it sounds great. I loved the contrast between the sections.

28. Moonsh1ne (Ken) - Op. 15, No .13 Kinderszenen - Der Dichter Spricht (The Poet Speaks) You bring a stateliness to this piece; it's as if the poet is carefully telling us everything. Nice control of tempo and dynamics. The background noises add to the atmosphere too.


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Originally Posted by Andy Platt
Opus 15 - Kinderszenen

28. Moonsh1ne (Ken) - Op. 15, No .13 Kinderszenen - Der Dichter Spricht (The Poet Speaks) You bring a stateliness to this piece; it's as if the poet is carefully telling us everything. Nice control of tempo and dynamics. The background noises add to the atmosphere too.


You're really too kind, thank you. Overall I think my personal standard needs to be raised to participate further in these themed recitals, as the quality of the performances seems to be much higher than normal recital.

The background noises is my son being quiet with his pencils in the kitchen, sorry about that.


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Moonsh1ne, I think you did an excellent job with Der Dichter Spricht. After listening I decided to print it out and try to learn it, but that middle section looks daunting!

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Originally Posted by Andy Platt

18. sinophilia (Diana) - Op. 15 no. 1 - Von Fremden Laendern und Menschen Yes, a beautiful piece I know why you chose it! Nicely played, the melody is nicely phrased; perhaps the left hand could be a teeny bit quieter though I see that's something you've worked hard on. Lovely and dreamy!


Thank you so much Andy. Left hand quieter? The story of my life grin
I tried and tried (and I will try some more), but got too many silent notes. So I figured I'd make the top voice louder instead, that's what I tried to do in the end. Overall I think I'm not too bad at playing soft on my upright, but there's still a lot of work to do.

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Tim Adrianson - Kreisleriana

I find Kreisleriana to be one of Schumann's more demanding (on the listener) early works. And then there's its obvious massive technical challenges as well... I thoroughly enjoyed your performance Tim - you gave a great sense of the overall architecture of the piece, which isn't always easy to discern. You're clearly a very accomplished pianist, and there were some beautiful tender moments in the slower sections of some of the pieces too. I just heard Maurizio Pollini perform this live two nights ago actually, and enjoyed the space you gave to the slower parts much more than I did his interpretation of the same sections. If I might make one small suggestion it would be tone more generous with the pedal I the opening stormy passage - I have no idea how you even managed to get your fingers around it (it must be one of the trickiest bits in the whole set?) but wondered if the melodic fragments appearing in the whirlwind couldn't be helped along a bit with more pedal? Just a thought. Thanks for taking on such a beast of a piece and sharing your wonderful performance.


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verqueue - Sonata, op. 22

I'm sad that your experience with this sonata has put you off Schumann. I enjoyed listening to your performance - you are clearly very talented and I would love to hear you tackle one of his less 'sprawling' works, for want of a better term. Perhaps the Fantasiestucke, or Faschingswank aus Wien? Or the mighty Carnaval? I'm personally not a big fan of this sonata, nothing to do with your performance though...! And I wonder if you might feel more at home with some other of his works. What was it that you didn't like about the piece, if I might ask?

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01. Pianamateur - Papillons, op. 2
Wow! Really impressive. The rhythm sounds really tricky to memorize and perform. You must have excellent endurance to be have gotten such a good recording as the piece is so long. I don't think I've ever made a recording of more than 3 1/2 or 4 minutes. I especially enjoyed the parts around 6:15. Excellent playing!

02. Valencia - Davidsbuendlertaenze Op. 6 No. 4 - Ungeduldig (Con impazienza)
I liked it. It doesn't sound easy. And if this is half speed, it must be super hard to play it at tempo. It seems to start off calm and lofty, and slowly, I can feel the tension building. Towards the end, it seems to get darker and more murky. Nicely played!

03. patH (Patrick Hollstein) - Davidsbuendlertaenze op.6, Nr.8 "Frisch"
Nice! Very exuberantly played. I can hear a lot of enthusiasm. I enjoyed the fast pace and dramatic finish.

04. Valencia - Davidsbuendlertaenze Op. 6 No. 10 - Balladenmassig sehr rasch
Well played. It sounds to me like it was confidently played. I agree about the slower tempo. It definitely helps hear the music more deeply.

05. Richard (zrtf90) - Davidsbuendlertaenze op.6, Nr.15 "Frisch"
A very enjoyable listen. I really enjoyed the contrast between the dramatic, energetic intro and the peaceful, meditative arpeggio section.

06. Richard (zrtf90) - Davidsbuendlertaenze, Op. 6 No. 16, Mit gutem Humor
I probably wouldn't have associated this piece with humour if not for the title. More like sarcasm or Irony. Dunno. I thought the recording sounded pretty good. Then I can imagine how much better it must have sounded on the piano. The alternating sound between the two hands was nicely done. Sounds tricky.

07. Richard (zrtf90) - Davidsbuendlertaenze Op. 6 No. 17 Wie Aus der Ferne
This is a beautiful peace, and your playing is really brilliant. I enjoyed the mood this piece brings. The sudden tenstion towards the end in what is otherwise a peaceful piece was very refreshing. The conclusion was very well done! Nice!

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Originally Posted by outo
75 Vogel als Prophet (Bird as Prophet) Op. 82 No. 7
This is probably my favorite Schumann piece. You played the light figurations beautifully! Captivating as you say...

Originally Posted by peterws
75 A delightful piece which conveys that which you suggest. The hymn sound mixes well and gives this a rare (for Sch) feelgood quality. Lyrical and light. Great job!

Originally Posted by Jytte
68. Winterzeit I (Wintertime I) Op. 68 No. 38
75. Vogel als Prophet (Bird as Prophet) Op. 82 No. 7
Excellent playing.

Thank you for listening and commenting smile
@outo, I'm glad I could do some semblance of justice to your favourite Schumann piece grin

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More comments! Qualified or not, here I come!

13 Farm Girl 12 4

Lucky for some! This really sounded great here with lovely accentuations. Thoughtfully played. A pleasure. Be proud! Be very proud! This is now on my to do list.

14 hreichgott 12 5

Passion and panic here in equal measure; you can feel it, touch it. Must admit to thinking he`d drowned long before the end . . .a real panic attack if I`ve ever heard one . .

15 hreichgott 12 6

Ha ha . . those kids weren`t silly. The history lesson was soooo boring, boring . . .and they had fun! One o` Sch`s more humourous pieces. He, and you, do this so well.

16 hreichgott 12 7

Forerunner of Joplin? What a dream! I reckon he was dreaming into the future. And was sat behind the wheel of a Ferrari . . .

17 Andy Platt 12 8

A good big sound from you, Andy. The bells were obvious and you gave great expression to this super piece.

18 Sinophilia 15 1

Opus 15 is a super song selection.The speed of yours is fine and sounds well suited to what you like playing. Both pianos sounded really well, but obviously the digital is so easy to record. Great job. Another one for my list.

Forrest Halford 15 2

All these pieces are, I believe, a good mix of styles and abilities. For kids of all ages in fact. Yours has the feelgood factor, definitely. A great listen!

Forrest Halford 15 3

You`re very much at home here. Yet another for my list. So happens I have the album . . .

Peterws 15 4

Still too much reverb here. Or is it . . . your RIGHT FOOT!!

Dynamobt 15 5

Played like a pro! Lovely lovely! Full o` life and expression.
More!

Elaine Allegro 15 6

This opus has brought out the best in a lot of people here; and you`re well up to it. Beautiful; loved it!

Elaine Allegro 15 7

Didn`t like this as a kid, don`t like it now. Too girly . . .You have a lot of expression here and the sensitive touch necessary to pull it off. I like it a bit more now! Specially played by a lass . . grin

Time for caffeine . . .




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Hi, pianamateur! Thanks for listening, and your kind words. I greatly appreciate it, because it WAS a lot of work to put together -- but really very rewarding work indeed! Previously, I had dabbled with the Kreisleriana, but used the Schumann Recital as an "excuse" to explore this wonderful work in more depth.

I especially appreciated your comment regarding the wealth of tender moments in this set of 8 "fantasy pieces": for me, this is the finest exemplification of Schumann's Florestan and Eusebius sides, in stark contrast; but the finest and most unique and memorable writing is in his soft Eusebius mode.

I believe you are correct in indicating that there is simply more work to be done to make the first piece more convincing. It really is one of the cruelest introductions I've encountered in the piano literature. I don't think more pedal is needed, though, so much as more security in shaping the melodic arch amidst all those twists and turns, but it is so physically punishing to accomplish this. To a lesser extent, that was also true in #3 and #7: it's just physically brutal, and I'm perhaps 80 - 90% "there" at best.

Finally, let me return the compliment regarding your "Papillons": I thought you really captured the quirky character and charm of these pieces. Schumann to my mind has a very warm, affectionate element in his writing, and it's particularly apparent in "Papillons". A pleasure to listen to!

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All, this is a pleasure to listen to so far. I am so happy with the complete Op. 12 presented here, it is really a work of collective imagination and I am humbled to be part of it. I feel that through this music we're in community even though very far apart. Of course I hear my own flaws, as do we all, but I *almost* don't care because what we are doing is very special.

As to the Davidsbundlertanze, you all make me want to learn them next so I can have as much fun as you smile

continuing to listen!


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Elaine Allegro 15 6
This opus has brought out the best in a lot of people here; and you`re well up to it. Beautiful; loved it!

Elaine Allegro 15 7
Didn`t like this as a kid, don`t like it now. Too girly . . .You have a lot of expression here and the sensitive touch necessary to pull it off. I like it a bit more now! Specially played by a lass . . grin



Quick correction to peterws's generous reviews, before I sneak off with someone else's compliment. I was wondering when I saw my piece considered "girly," since it's pretty boisterous! So, kudos for 15-7 should go to dynamobt/Marilyn!

As for 15-6: thank you, Jytte, SwissMS, Andy Platt, AND peterws for your kind words - and thanks to everyone who listened!

I've listened to the shorter pieces all the way through and took glimpses of the longer ones, saving those for for future listening (maybe I'll stream the whole thing while I pretend to work). I really appreciate all the talent in this recital, the ability to participate with pianists at all stages of their piano journeys, and the opportunity to learn from how each person approached his/her piece(s).

I have a much better "sense" of Schumann, but don't yet feel a compelling pull to focus on him as I do with Chopin, Grieg, and some others. Maybe maturity (ok, as a pianist) will do that? In the meantime, some fascinating listening.

heart Virtual flowers to Morodiene and everyone who rounded us up and brought the vision to fruition. (What, no flower bouquet icons in this virtual theater?)

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Thank you Jytte, barbaram, SwissMS and Pianamateur for your comments.

barbaram, maybe you are right that playing Schumann don't require so much emotional attention. I'm accustomed to put my all emotions and everything to every romantic piece I play. You're right that I communicate better through Chopin's music, I think I feel it. It's been ten years, when I played my first Ballade (it was Ab major Ballade) by him, so I've a lot of experiance in playing his music. It was my first Schumann piece and I didn't have almost any guidance, so I felt lost.

Originally Posted by Pianamateur

I'm sad that your experience with this sonata has put you off Schumann. I enjoyed listening to your performance - you are clearly very talented and I would love to hear you tackle one of his less 'sprawling' works, for want of a better term. Perhaps the Fantasiestucke, or Faschingswank aus Wien? Or the mighty Carnaval? I'm personally not a big fan of this sonata, nothing to do with your performance though...! And I wonder if you might feel more at home with some other of his works. What was it that you didn't like about the piece, if I might ask?

Pianamateur, it's not that this experience has put me off Schumann. There is a reason, why I didn't play his music before - I didn't like it. You can ask now ask why I played a piece by composer I don't like? I don't want to be limited to composers I like. I believe to be accomplished pianist there is some versatility needed. And there is always a possiblity that I find my new music love wink. And there was this recital, which gave me oppurtinity to push myself to finally play some major work by Schumann. I don't regret it wink. Maybe in the future I'll play his other pieces, but it'll be a while.

In this Sonata I didn't like that Schumann made small, insignificant changes in similar motives. For example in Chopin Mazurkas these changes give them some improvisational character. In this Sonata these small niuances are lost in cascade of notes - it's not only my performance, some great pianists also didn't manage to show these things. Also in the first movement the tempo is as fast as possible. And then faster and then more faster. It doesn't make sense for me. Overall harmony is pretty uninteresting, but there are some spots, where he put some strange chords. For me they seem forced... Also he didn't write any beatiful melody in this Sonata. I know my opinion is quite controversial and there will be plenty Schumann's fans, who disagree with me. We can have discussion about this, it would be interesting.


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I must`ve only done the first part of Traumarai when I was a kid. Like watching paint dry when the teacher ran through it . . .Oh, SUCH expression! SO wonderful! . . . And I had that to do . . . . b**gger me! Packed in shortly after. A guy can only stand so much, a young guy so much less!

I went off all classical music at that point. Good job there were other genres . . .I then started to earn money!


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Originally Posted by SwissMS

40. Rachel Jimenez - Intermezzo from Faschingsschwank aus Wien, Op. 26 I love the subdued arpeggios underlying the piece. Truly a wonderful job. I am glad you joined the recital!

41. Rachel Jimenez - Romanze from Faschingsschwank aus Wien, Op. 26 This one is quite a contrast to the preceding one. It is quiet and reflective, while the previous one is exuberant. I love your pacing of the piece.


Thank you!


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Originally Posted by verqueue



Pianamateur, it's not that this experience has put me off Schumann. There is a reason, why I didn't play his music before - I didn't like it. You can ask now ask why I played a piece by composer I don't like? I don't want to be limited to composers I like. I believe to be accomplished pianist there is some versatility needed. And there is always a possiblity that I find my new music love wink. And there was this recital, which gave me oppurtinity to push myself to finally play some major work by Schumann. I don't regret it wink. Maybe in the future I'll play his other pieces, but it'll be a while.

In this Sonata I didn't like that Schumann made small, insignificant changes in similar motives. For example in Chopin Mazurkas these changes give them some improvisational character. In this Sonata these small niuances are lost in cascade of notes - it's not only my performance, some great pianists also didn't manage to show these things. Also in the first movement the tempo is as fast as possible. And then faster and then more faster. It doesn't make sense for me. Overall harmony is pretty uninteresting, but there are some spots, where he put some strange chords. For me they seem forced... Also he didn't write any beatiful melody in this Sonata. I know my opinion is quite controversial and there will be plenty Schumann's fans, who disagree with me. We can have discussion about this, it would be interesting.

I feel much the same way. I found the Op 23 piece to be very repetitive and not enough variation to really keep it interesting. Or rather, it seemed almost directionless rather than changes that further the musical idea or explore it in new ways. In the Op 111, however, I think it was short enough that such development wasn't called for and so I didn't find it lacking.

I also wasn't too keen on a Schumann recital and actually working on these pieces was harder than the Grieg, whose music I absolutely loved. For me if I don't love the music, then I'm kind of going through the motions and it's more difficult for me to overcome and also to practice more diligently. I didn't find this problem with the Grieg. With Tchaikovsky, it was a bit of the same, but I enjoy it more than the Schumann I think.

I have learned a lot of things about myself in participating in these recitals, however. One is that since I do this for my own enjoyment (and I do play plenty of pieces for other purposes like accompanying students and the occasional gig), that I really should pick and choose my pieces carefully. If the piece really inspires me, then I think I will get more out of it and a better end result.


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"In this Sonata I didn't like that Schumann made small, insignificant changes in similar motives. For example in Chopin Mazurkas these changes give them some improvisational character. In this Sonata these small niuances are lost in cascade of notes - it's not only my performance, some great pianists also didn't manage to show these things. . . "

Just a thought. I`ve come across some music, not only by Schumann, that has supposed slight variations in repeats which seem so insignificant. Some are not even changes; just the music written out differently.

D`ya suppose these small deviations might not actually be written in stone? We always like to think they are, but the original messy manuscripts would indicate these guys were not too organized in their pen to paper approach . . . perhaps not even in their mental processes either!
And of course, someone far more organized has later had access to this stuff and wants it to be saleable . . . !


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Originally Posted by verqueue
Pianamateur, it's not that this experience has put me off Schumann. There is a reason, why I didn't play his music before - I didn't like it. You can ask now ask why I played a piece by composer I don't like? I don't want to be limited to composers I like. I believe to be accomplished pianist there is some versatility needed. And there is always a possiblity that I find my new music love wink. And there was this recital, which gave me oppurtinity to push myself to finally play some major work by Schumann. I don't regret it wink. Maybe in the future I'll play his other pieces, but it'll be a while.

In this Sonata I didn't like that Schumann made small, insignificant changes in similar motives. For example in Chopin Mazurkas these changes give them some improvisational character. In this Sonata these small niuances are lost in cascade of notes - it's not only my performance, some great pianists also didn't manage to show these things. Also in the first movement the tempo is as fast as possible. And then faster and then more faster. It doesn't make sense for me. Overall harmony is pretty uninteresting, but there are some spots, where he put some strange chords. For me they seem forced... Also he didn't write any beatiful melody in this Sonata. I know my opinion is quite controversial and there will be plenty Schumann's fans, who disagree with me. We can have discussion about this, it would be interesting.


Originally Posted by Morodiene
I feel much the same way. I found the Op 23 piece to be very repetitive and not enough variation to really keep it interesting. Or rather, it seemed almost directionless rather than changes that further the musical idea or explore it in new ways. In the Op 111, however, I think it was short enough that such development wasn't called for and so I didn't find it lacking.


No I don't think it's particularly controversial to voice an opinion on a work you've studied in depth...! And kudos to you (both) for persevering and polishing something you don't love to bits. I would tend to agree with both of you, and go further to say that Schumann simply wasn't well suited to traditional forms like the sonata. I personally don't find any of the 3 sonatas particularly compelling - and though I hadn't quite pinpointed why, I think you've articulated it for me: the comparative lack of beautiful melody and musical direction. I also am not a huge fan of the Fantasie, even though I know it's considered to be one of his masterworks. My personal faves are Carnaval, Papillons, Waldszenen, Op12 and the Kinderszenen - possibly because they're made up of such short pieces that there's no time to get lost in torrents of notes? I dunno. But thanks for sharing your thoughts, it's an interesting discussion to have.

Ta,
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28 Moonsh1ne Ken 15 13

Lovely hymn like characteristics of this come through. It is a peaceful work with nice simple harmonies which you brought out. Enjoyed.

29, 30, 31 Tim Adrianson

Now then. . . . groping for words here. Can`t pretend. But it has been suggested Schumann lacks an emotional approach to music. I would agree. He paints musical pictures, sets scenes. These will convey the emotion . . .

Your music is very involved and flows from beginning to end. I particularly liked the last piece. Goes a bit wild after the half way mark, but there`s a reason for this. Panic, and more panic. A war zone? Who knows? Too much for my little brain . . .

Try to play that,
It`d drive me insane . .


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Opus 16 (Kreisleriana), Opus 18, Opus 21 (Noveletten)

29. Tim Adrianson - Kreisleriana #1 - 2 Op 16
30. Tim Adrianson - Kreisleriana #3-4 Op 16
31. Tim Adrianson - Kreisleriana #5 - 8 Op 16 Hats off to anyone who tackles one of these fiendish pieces, let alone all of them! Overall you did a wonderful job, though I suspect that if you had gone ever so slightly slower on some of the faster sections, some of the minor inconsistencies would have disappeared. But I'm not arguing with your tempo, it flowed wonderfully. You brought great dynamics to the piece and managed to tease the melody out of the mass of notes. And there were nice contrasts of mood between the different pieces and sections. Number 3 was just totally ravishing! Great performances!

32. Pover - Op.18 Schumann Arabeske This is delightfully played, you have the slightly drifting feel of an arabesque with the passion needed to balance it. Excellent job controlling the flow of this big piece, it felt it was going somewhere.

33. peterws - Novelletten 21 1 Wonderful contrasting sections. I loved the energetic parts, very well controlled. Nice voicing on the big chords. And a lovely contrast with the slower ones, nicely phrased. Great!

34. chopinoholic (Paul de Koning) - Novelette op.21 no.2 Just a crazy, crazy piece. It's hard to criticize the runs but occasionally I think you took them too fast and they weren't 100% accurate. Heck, mine aren't but you are better than me! wink The contrast to the slower section was delightful, nicely phrased melody and interplay with the voices. Overall, wow!

35. Tim Adrianson - Noveletten #5
36. Tim Adrianson - Noveletten, #6 You are a sucker for punishment! You also did a fantastic job with these Noveletten, great "big" sections and nice legato slower ones, all controlled and shaped wonderfully.


  • Debussy - Le Petit Nègre, L. 114
  • Haydn - Sonata in Gm, Hob. XVI/44

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People`s stuff here make mine look so pedestrian! Dunno how y`all do it . . .Talent I guess!

32 Plover op38

You`ve come a long way in 3 years! This lacks nothing . .love the shuffle (swing) beat after the half way mark; it sings really well. Id be more than happy wi that . . .

34 Chopinaholic 21 2

The Novelletten are involved. I grabbed arguably the easiest first, no time to waste on it! This was dramatic, your Pleyel sounds terrific and you both flowed well. . . I found 21 1 hard but in the 6 months I spent on it I never tired of it.

35 Tim Adrianson 21 5

Forceful, tuneful, gentle and expressive. The music and the playing The changes from section to section were great and deliberate. It was quirky, I loved it!

36 Tim Adrianson 21 6

This seems all over the place structurally; maybe that`s why some don`t care for Schumann, going nowhere in particular, maybe just reflecting life on a busy street . . .almost the classical equivalent of jazz; but I loved what you did.

37 Verqueue op22

16 minutes of purgatory just for us! Well, maybe you got something out of it . . there is always a good contrast between the dramatic and the laid back with Schumann, but this piece would have been more useful if it was shorter imo. You handled it wonderfully but . . not for me to do!

38 Morodienne 23 3

Erin, you piano and playing really sounds great here. You brought out the strong bits with force and appeared . . to enjoy this music! And there was I thinking it was for fellas . . .don`t know nowt do I? grin

39 Pika Pianist 23 4

This is really lovely, it is smooth and your phrasing is excellent! Nice nice . .

40 Rachel Jimenez op26

Your piano sounded amazing! What a set up . . This lovely piece sparkled with pristine beauty! I better shut up, swallowed a dictionary . .

More caffeine required . . .Off I go!


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Originally Posted by Andy Platt

32. Pover - Op.18 Schumann Arabeske This is delightfully played, you have the slightly drifting feel of an arabesque with the passion needed to balance it. Excellent job controlling the flow of this big piece, it felt it was going somewhere.


Originally Posted by peterws

32 Plover op38
You`ve come a long way in 3 years! This lacks nothing . .love the shuffle (swing) beat after the half way mark; it sings really well. Id be more than happy wi that . . .


Thanks guys! I feel like I can come back to it in a couple of years and get it up to my satisfaction. I might visit England this Summer, and if that happens, I'll definitely try to record it on a Steinway (along with Chopin's Gb impromptu, playing on a Steinway will be a highlight of the trip if it happens :P)

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[quote=Pover
Thanks guys! I feel like I can come back to it in a couple of years and get it up to my satisfaction. I might visit England this Summer, and if that happens, I'll definitely try to record it on a Steinway (along with Chopin's Gb impromptu, playing on a Steinway will be a highlight of the trip if it happens :P) [/quote]

From what I hear on this recital, a Yamaha P140 and Pianoteq would sound better . . .


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60. barbaram - Op 68 no 26 Nice job keeping the melody well projected over the accompaniment. This is another one I learned last year, and I remember some very awkward fingering. You made the changes seamlessly. Well Played!

61. torquenale (Alessandra) - Erinnerung - op. 68 n. 28 A very pretty piece, nicely played. I like the slow pacing, and strong melody.

62. Sam S - Strange Man - opus 68 no 29 This sounds like a very scary stranger with a strong presence, stopping to look around suspiciously. Your painted a great picture for me. Nice presentation.

63. Sam S - Album for the Young *** opus 68 number 30 This is a gorgeous piece and you played it well. It has a sense of remembrance.

64. Carey (Phil Jones) - Kriegslied (Song of War) Opus 68 No. 31 I can see the soldiers marching off with determination. Beautifully played.

65. Anne H - Opus 68, No 32: Sheherazade This one is new to me, and I really like it. You did a very nice job with it, keeping the perpertual motion going.

66. peterws - Mariners Song Another gem. It has the feel of choppy waves or rough seas to it. You kept its forward motion going very nicely.

67. Recaredo / Ricardo - Op. 68, Album for the Young No 37. Matrosenlied (Sailors' Song). Very expressive playing! This has a dark brooding feeling, that you brought out well.

68. noobpianist90 - Winterzeit I (Wintertime I) Op. 68 No. 38 IT paints a picture of a snowy landscape. I like your subdued playing. Your chords sounded even and well voiced.

69. barbaram - Op 68 no 39 Wintertime II This one sounds more like a bleak winter day. I especially like your playing of the middle section with the well projected melody and sudden fortes. Very nice.

70. Carey (Phil Jones) - Nordisches Lied (Northern Song) Opus 68 No. 41 This one feels very serious and a bit durge-like. Your playing brought out its dark character well.

71. Carey (Phil Jones) - Figurieter Choral (Figured Choral) Opus 68 No. 42 I like the balance between the voices. Very nicely done.

72. Carey (Phil Jones) - Sylvesterlied (New Year's Eve) Opus 68 No. 43 This Sylvester seems more like remembrance, than the celebration of the New Year. Really nice shaping and pacing.

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Originally Posted by verqueue

In this Sonata I didn't like that Schumann made small, insignificant changes in similar motives. For example in Chopin Mazurkas these changes give them some improvisational character. In this Sonata these small niuances are lost in cascade of notes - it's not only my performance, some great pianists also didn't manage to show these things. Also in the first movement the tempo is as fast as possible. And then faster and then more faster. It doesn't make sense for me. Overall harmony is pretty uninteresting, but there are some spots, where he put some strange chords. For me they seem forced... Also he didn't write any beatiful melody in this Sonata. I know my opinion is quite controversial and there will be plenty Schumann's fans, who disagree with me. We can have discussion about this, it would be interesting.



Why did you pick this Sonata? What I love about Schumann's work is the huge variety. I really liked your playing but I must agree that this is not one of his best works. The Grosse Sonata is much better but still not close to his best work.

Everybody knows Kinderszenen but his music is so versatile, there are so many different types and styles that I see with hardly any other composer.


Since you picked a fast piece, what do you think about:
Symphonic Studies, Op. 13 Appendix (1st Published 1873): Variation I.
https://open.spotify.com/track/0QwVBFLoFzxSlpX3iXtxVH
(The euphory laugh laugh )

Or for instance Bunte Blatter Op 99: Albumblatter II: Schnell
https://open.spotify.com/track/7gdWIiF0TaaW2AizikRB6J

Or piano quintet op 44. Or the Romances Op 28?

Of course his lieder are incredible but that's hard to play on piano wink Same for the requiem for mignon..

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Originally Posted by Jytte


WimPiano 46. Op. 68 No 4 - Ein Choral
52. Kleine Studie - Album fur die Jugend - Op. 68 No. 14

Well done. I liked it.

Mange Tak!

Originally Posted by SwissMS

46. WimPiano - Op. 68 No 4 - Ein Choral Nice, even well voiced chords! It sounds like you did well in learning to use the pedal correctly. Your changes sounded clean!

52. WimPiano - Kleine Studie - Album fur die Jugend - Op. 68 No. 14 This a pretty piece. Your arpeggios were nice and even, and play between the hands sounded great. Very nice.


Thanks for your nice words. I really liked for the No 14 to be after your piece, the contrast somehow made my piece sound different than when I listen to it stand alone.

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Originally Posted by wimpiano
Why did you pick this Sonata?


It was major work which I considered easier (compare to Sonata F# for example) and possible for me to do at acceptable level in 4 months, especially when I had to do other repertoire. There are plenty versatile composers, this argument doesn't convince me wink. I know these pieces you mentioned and I don't like them.


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Lol, a matter of taste it is wink

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Originally Posted by wimpiano
Originally Posted by Jytte

WimPiano 46. Op. 68 No 4 - Ein Choral
52. Kleine Studie - Album fur die Jugend - Op. 68 No. 14

Well done. I liked it.

Mange Tak!

smile


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41 Rachel Jimenez op26

A pleasant piece, played with a befitting depth of expression. Good light and shade here, Splendid!

42 Rupak Bhattacharya 28 2

What a gorgeous piano! And the music is wonderful to listen to. LH RH balance spot on. You do incredible things on that little Casio . .words fail me.

Scorpio 68 1

You played that very well. G

I`m sorry about this. I got up to No 51 tonight with comments. And they`ve all gone . . .Dammit! Took me two bloody hours . . . Really dunno what happened . . .

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Hi, Andy! My thanks for the comments -- I would agree that some of the "fast" Kreisleriana pieces are not totally satisfying from a technical standpoint, but I had elected "going in" to take risks rather than playing it safe, feeling that this was more of the essence of Kreisleriana in the first place. I appreciate your comment about #3, because I myself found that the most provocative and exciting of the eight pieces -- but, what a beast (as are #1 and #7)!

Thanks also for your comments regarding the Novelletten -- IMO, this is just vintage Schumann that is very seldom played. Unlike the Kreisleriana, I had pretty thoroughly learned these pieces some 40 - 50 years back, and it was just a thoroughgoing pleasure to "dust these off", with hopefully the increased wisdom of accreted experience. I would have loved to program #'s 3 and 4 in addition, but felt that I plenty on my plate already!

Again, thanks for your kind words.

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Hi, Peter! Thanks for your comments regarding the Kreisleriana and the two Noveletten. I was somewhat amused by your reaction to the Kreisleriana ("Let's see, now -- what DO we say?"). For me, Kreisleriana is just vintage Schumann, with all the really rather dark quirkiness and unique vision that informs much of Schumann's writing. The fast sections are short and explosive, but the slow sections are intensely introspective and, for me, the dominating portion of this disquieting cycle of pieces. And, in this context, the final piece is a really satisfying conclusion -- a bass line that goes more and more off-kilter as it proceeds, a "B" section that blends 6/8 and 2/4, a "C" section that insists on cross-handed relationships, and a final statement that descends into the depths. Totally original, totally convincing!.

I've always thought that the Noveletten were among Schumann's most neglected works -- again, chock full of original writing, and in this case, a little more light-hearted (difficult technically, though!). I've heard #1 much more than any of the others, and I thought you did a very nice job with it, particularly in the more forceful, marchlike sections.

Incidentally, Judy (my wife) and I will be visiting England for a full month, starting on Sep 06. We're going to be staying in a cottage outside of Bath, and plan to to do short tours at our leisure, rather than committing to a tourist "agenda". I'm definitely looking forward to that!

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Cheers Tim! I know nothing of the technicalities of any of this stuff, or classics generally . . hence the difficulty with any meaningful comments!
Hope you get decent weather for your trip; the last few years have been pretty good. And Bath is a place I`ve never visited. . . grin Steam trains run around those parts at odd times, if you`re interested!

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Originally Posted by peterws

40 Rachel Jimenez op26

Your piano sounded amazing! What a set up . . This lovely piece sparkled with pristine beauty! I better shut up, swallowed a dictionary . .

More caffeine required . . .Off I go!


Ha! Thanks a lot. smile


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Wonderful playing everyone - I feel honored to have been a part of this recital.

I have updated the ABF Recital Index to include this recital.

Which bumps Schumann up considerably in the most-frequently-played list! He moved from 8th up to 2nd - Chopin still holds the top spot.

Sam


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43 Scorpio 68 1

You displayed a nice touch and definition on that little piece. The short pieces are great for study and fun. You feel you`re getting somewhere a bit faster than you would otherwise . . !

44 Pianonewbie 68 2

You never know what Sch`s gonna come up with. This sounded precise and regimented. Well, it should, shouldn`t it?

45 Tom Christian 68 3

You played that nicely. These pieces are helpful for progress. I suppose Sch. had the idea of working through them all . . .but the other composers did the same. So there`s a huge choice of playable instructive stuff! See you at the Recital . .

46 Wimpiano 68 4

Nice Schimmel! I enjoyed the playing of this hymn tune. Lovely work; I like the old hymns. . .and Sch has done plenty of those, I believe.

47 Scorpio 68 6

Sounds like Tudor music! Very well performed; I do like this sort of stuff a lot. It`s uncomplicated, uncluttered, tuneful, . . .just all good!

48 Ohio Mark 68 7

I wonder just how fast this stuff was meant to be. Some people just like to play fast. This sounds very well as it is. Maybe could be a tad quicker due to the title, but I think we`re all well aware of our shortcomings. Others are assuredly not!

49 ajames68 8

That was lively! Good stuff after only 2 years . . is it years? ha ha

50 EarlofMar 68 9

I reckon my G`Dad played this when he visited years ago. This sounds a treat wi the LH melody and brought back a lot o` memories!

51 Swissms 68 12

Ruprecht was what we called the Bogeyman in our childhood days. Your rendition is rather more friendly . . but he seems to have trouble walking You did a spirited performance which I liked, particularly the definite ending!

Dinner time!





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I want to congratulate all the participants in this themed recital. The level of playing continues to improve. I'm a particular fan of the music of Schumann. So this recital has been an absolute joy to listen to. I won't thank each individual who comments on my two pieces. But, I am very grateful for your remarks. Everyone who contributed should be very proud of themselves.


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Finally able to spend some time listening intently and making comments. I am really amazed at how everyone has progressed, and the level of playing is very high!

01. Pianamateur - Papillons, op. 2 I really enjoyed everything about this. Wonderful playing! I didn’t notice the flubs (or they didn’t bother me), so sometimes it’s best to not admit to them smile

02. Valencia - Davidsbuendlertaenze Op. 6 No. 4 - Ungeduldig (Con impazienza) Is this marked “with impatience”? I think you portrayed that very well in your playing. Very dark and dramatic!

03. patH (Patrick Hollstein) - Davidsbuendlertaenze op.6, Nr.8 "Frisch" This sounds like a lot of fun to play. You give it lots of energy!

04. Valencia - Davidsbuendlertaenze Op. 6 No. 10 - Balladenmassig sehr rasch Nice job bringing out the melody in these arpeggios. I’m not familiar at all with this work, but it’s beautiful!

05. Richard (zrtf90) - Davidsbuendlertaenze op.6, Nr.15 "Frisch" Such a tender melody on this piece. You really make it sing over the calm LH pattern. It reminds me of Ave Maria (Schubert) for some reason.

06. Richard (zrtf90) - Davidsbuendlertaenze, Op. 6 No. 16, Mit gutem Humor This is a quirky little piece, and it sounds like a lot of direct pedaling is involved. Good work on this, and keep at it! Pieces that you love are worth the effort, and sometimes our progress doesn’t match our schedule. smile

07. Richard (zrtf90) - Davidsbuendlertaenze Op. 6 No. 17 Wie Aus der Ferne While it doesn’t sound complex, there appear to be a lot of challenges musically in figuring out what to bring out and how to make it flow nicely. You did well with this. It’s almost nocturnal in character, I think.

08. timmyab - Three pieces from Carnival op 9 Beautiful playing! I feel as though this would be so much better on an acoustic to give it more dimension - you seem certainly capable of it. Have you practiced/performed this on an acoustic? I think you’d be delighted with the results.

09. Greener / Jeff Green - Carnaval, Chopin Op. 9, No. 12 I can really hear the Chopinesque style coming through in your playing! Very nice attention to the melodic line.

10. Richard (zrtf90) - Des Abends, Op. 12 No. 1 I can see why you fell in love with this piece! Your rubato is very well done and it feels very nostalgic like someone reflecting on quiet summer evenings spent with close friends or family. smile


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Opus 22, Opus 23, Opus 26 (Faschingsschwank), Opus 28
37. verqueue - Sonata g minor op. 22 You win the award for the most honest comment! I don't agree, and many others don't, but obviously we each find our own thing. I do wonder if his Sonata is representative. OK, the performance. For someone who didn't like the piece, you still brought out a lot. It's a big work and I suspect you rushed parts, but there is a great feel of Schumann, perhaps make even more of the contrasting sections which is partly what he's all about? It's a big piece and you did a great job keeping it flowing and showing a direction. Overall, very impressive for many reasons!

38. Erin (Morodiene) - Op 23 No 3 Mit grosser Lebhaftigkeit Wonderful, this has that dichotomy we expect in the Schumann pieces, the big chords and the sudden quiet all rolled into one. You shape the piece excellently and maintain the energy throughout. Loved it!

39. PikaPianist - Nachtstucke Op.23, No.4 'Einfach' The beautiful melody shines in your performance, I love the rolled chords, very consistent and well done. Beautiful phrasing, I really enjoyed this piece.

40. Rachel Jimenez - Intermezzo from Faschingsschwank aus Wien, Op. 26
41. Rachel Jimenez - Romanze from Faschingsschwank aus Wien, Op. 26 These are beautiful performances. The intermezzo was very dreamlike in places, wonderful arpeggios and runs very delicately done. In particular the balance between the hands was excellent and great dynamic control. Similar for the Romanze, the delicacy of the performance was outstanding. Truly beautiful, loved, loved them!

42. Rupak Bhattacharya - Romance in F-sharp Major, Op. 28 No. 2 This too is so delicate, so well judged, a very moving performance. In parts perhaps you could have stretched the dynamics even more but it was wonderful as was. I just let it wash over me!


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10. Richard (zrtf90) - Des Abends, Op. 12 No. 1
Sensitive rendition - well done !

12. dire tonic - Warum? Op. 12 no.3
Beautifully played as always !

13. FarmGirl - Op12 No 4 Grillen
Vastly improved since you played it for me a few days prior to making the recording. Congratulations !!

14. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 5 In der Nacht
15. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 6 Fabel
16. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 7 Traumes-Wirren
Challenging pieces - all three played exceptionally well. Bravo !

17. AndyPlatt - Ende vom Lied, from Fantasiestuck, Op. 12, No 8
Very nice Andy !! For someone who has only been playing for five years, this is quite good. So sorry about your wrist. If you keep working on this piece, I have no doubt you will eventually be able to play it with greater drive and confidence. I encourage you to keep it in your repertoire !! smile


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29. Tim Adrianson - Kreisleriana #1 - 2 Op 16
30. Tim Adrianson - Kreisleriana #3-4 Op 16
31. Tim Adrianson - Kreisleriana #5 - 8 Op 16
Tim - Kudos to you for even attempting this "vintage" Schumann work. I'm impressed !! I'm not familiar enough with the Opus 16 to comment - other than to say that the No. 1 looks almost impossible to play. ha Schumann is one of my favorite composers, but I doubt Kreisleriana is something I'll be able to tackle in this lifetime. You do lots of nice things with the material !!

32. Pover - Op.18 Schumann Arabeske
I'm impressed that you are basically self-taught and have only been playing for three years. This is very good indeed. Overall your pacing is fine. There are some LH note issues at 3:02, and I would encourage you to take a little more time with the transition back to the main theme at 3:15. Also strive to be a bit more gentle and relaxed when playing the RH embellishments in the final section. You should definitely keep this piece in your repertoire. thumb

33. peterws - Novelletten 21 1
Nice energy in the opening theme and its subsequent restatements. I can tell you enjoy playing this piece. I play this myself, and yes, the key changes can be confusing smile As you continue to work on it, however, I would encourage you to try to keep a steady tempo and avoid unnecessary pauses between phrases. The "B" theme should be played a little faster, and the middle section ("C") should be more legato and less choppy. Also there are some RH note issues at 5:05 and 5:13 that should be addressed. Overall, however, a spirited rendition !!

34. chopinoholic (Paul de Koning) - Novelette op.21 no.2
Good job Paul! Your own assessment of your rendition is spot on. You certainly are making good progress with this challenging piece. It requires a lot of stamina - and the transition from the Intermezzo to the final section is tricky. I agree that the Intermezzo is a tad too slow - particularly the beginning of the second section. Also, you need to fix some wrong notes between 5:08 to 5:20. Hope you will continue to work on this and share another recording with us in the future !!!!!

35. Tim Adrianson - Noveletten #5
36. Tim Adrianson - Noveletten, #6
Really enjoyed listening to these Tim. They "dusted off" quite well - and you really understand the composer's intent. I agree that the Novelleten are a tad under-appreciated and under-played. Schumann felt that these pieces represented some of his finest work to date. 50 years ago in college I bought an LP of Beveridge Webster doing the entire set - and played it hundreds of times. Amazingly, it still sounds OK.



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Originally Posted by carey

32. Pover - Op.18 Schumann Arabeske
I'm impressed that you are basically self-taught and have only been playing for three years. This is very good indeed. Overall your pacing is fine. There are some LH note issues at 3:02, and I would encourage you to take a little more time with the transition back to the main theme at 3:15. Also strive to be a bit more gentle and relaxed when playing the RH embellishments in the final section. You should definitely keep this piece in your repertoire. thumb


Thanks for the kind words carey. You're right about the LH issues, that section sometimes trips me up and I don't know why I never sat down and conquered it completely. I also thought the same thing about the transition; I couldn't find the right amount of time to take, but I think it would be better to take slightly more time.

Thanks for the comments! Believe it or not, one of the reasons I was encouraged to tackle this piece is because I heard your recording of it somewhere here, so that kind of motivated me, but mine is still no where near as good as it should be. It's a great piece.

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Good Lord Pover, I just had a look at the sheet music for your piece, it's just crazy! There may be things to refine and polish, but you did an outstanding job, congratulations!

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Originally Posted by sinophilia
Good Lord Pover, I just had a look at the sheet music for your piece, it's just crazy! There may be things to refine and polish, but you did an outstanding job, congratulations!


Thanks! At first sight it looks intimidating, but believe it or not some of the difficult-looking parts might be easier than they look, and some of the parts which seem easy are in fact the toughest!

The main theme repeats a lot, so it reduces the amount of music you have to learn. At first it can be really tricky to get it going, but once you get the feel for it it becomes second nature. Of course, the problem with the repetition is that you have to find ways to vary it each time, which is one of my major faults in the recording, and it still is. A lot of nuance was lost because I still don't really 'own' the piece, but it sure is a nice piece to play and especially to learn.


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Thanks so much for that breakdown, Carey. Appreciate the input! I have to say the finer details (like playing every note, smoothness, rubato etc etc mean little to me! If I have fun, it`s good enough . . .


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For my second installment of comments:

11. Carey (Phil Jones) - Aufschwung (Soaring) Opus 12 No. 2 Another shining performance, Carey! I love the clarity you get on your recordings, too. How much did the AKG mics cost? Where do you have them mounted? I love how you gradually build the B section back to the return of A - great overall shaping. Maybe for even greater contrast you could use the soft pedal in that middle section.

12. dire tonic - Warum? Op. 12 no.3 What a tender piece - I love the attention you give to the title in your playing “Why?”. I like how the Garrison CFX sounds on this - very warm.

13. FarmGirl - Op12 No 4 Grillen I hope you continue to work on this piece. You have laid the groundwork and it’s a shame when things happen that don’t allow you to do your best. I generally count on something coming up as it gets closer to time to submit because that’s usually the case! Still, I enjoy your energy in those big chords and attention to the articulations. I’d work on greater contrast in the softer/gentler sections, making them as legato and warm as possible. Haha, love the big sigh at the end!

14. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 5 In der Nacht You navigate this tempestuous piece very well. It’s interesting how programmatic Schumann was, even if it was thought of after the fact smile. It seems like Hero’s time with Leander is way too short. In hindsight, he probably should have just stayed on the island. Great build up to his attempt to swim back at the end. Very dramatic playing!

15. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 6 Fabel I love the contrast between the seriousness and playfulness in this piece. Quite mischievous! Those moments remind me a bit of Grieg for some reason.

16. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 7 Traumes-Wirren I feel this one was not well-named. It sounds more like children playing or puppies running around or something than dreams, but maybe that’s what he’s dreaming about wink. I enjoyed your playing of these pieces very much - thanks!

17. AndyPlatt - Ende vom Lied, from Fantasiestuck, Op. 12, No 8 I prefer hearing something freer if even a bit sloppier rather than safe - safe is not exciting. Wrist sprains can take a long time to heal, I had that happens many years ago in a car accident and it took me a couple of months before I could play again, and even then my left wrist was weak. Took much longer than that to get it back to being strong again. I hope you are well on your way to recovery, and I really appreciate you submitting a recording in spite of that. I hear the grand wedding bells and the contrasting funeral bells very clearly in your playing. The funeral bells to me don’t sound sad (a la Chopin’s funeral march) but more like a conclusion to a person’s life, reflection on what they experienced and the lives they touched. Very sensitive playing - thank you!

18. sinophilia (Diana) - Op. 15 no. 1 - Von Fremden Laendern und Menschen I really prefer this tempo, sometimes when you play pieces too fast you lose all the nuances in there. A very fine performance, and I hope you continue to work with it to gain greater comfort with the pedaling. These things just take time, and this is a piece that is well worth it.

19. Forrest Halford - Schumann Op. 15, #2 "A Curious Story" If this performance raised your blood pressure, I couldn’t tell in your playing! It seemed very relaxed and comfortable.

20. Forrest Halford - Schumann Op. 15, #3 "Catch Me" What a fun sounding piece! Sounds like a pretty technical piece to play, and you handled it well!


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Originally Posted by peterws
Thanks so much for that breakdown, Carey. Appreciate the input! I have to say the finer details (like playing every note, smoothness, rubato etc etc mean little to me! If I have fun, it`s good enough . . .
Peter - It definitely should be fun - no question about that !! ha But those finer details can increase the pleasure quotient to sheer ecstasy !! grin



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Originally Posted by Pover
Originally Posted by carey

32. Pover - Op.18 Schumann Arabeske
I'm impressed that you are basically self-taught and have only been playing for three years. This is very good indeed. Overall your pacing is fine. There are some LH note issues at 3:02, and I would encourage you to take a little more time with the transition back to the main theme at 3:15. Also strive to be a bit more gentle and relaxed when playing the RH embellishments in the final section. You should definitely keep this piece in your repertoire. thumb
Thanks for the kind words carey. You're right about the LH issues, that section sometimes trips me up and I don't know why I never sat down and conquered it completely. I also thought the same thing about the transition; I couldn't find the right amount of time to take, but I think it would be better to take slightly more time.

Thanks for the comments! Believe it or not, one of the reasons I was encouraged to tackle this piece is because I heard your recording of it somewhere here, so that kind of motivated me, but mine is still no where near as good as it should be. It's a great piece.
Pover - I'm flattered that my recording played a part in encouraging you to tackle the Arabeske. Of course, I'm still not satisfied with my own recording and may give it another shot in the future. There's always room for improvement !! The Arabeske is definitely a fun piece to play.




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Originally Posted by Morodiene
11. Carey (Phil Jones) - Aufschwung (Soaring) Opus 12 No. 2 Another shining performance, Carey! I love the clarity you get on your recordings, too. How much did the AKG mics cost? Where do you have them mounted? I love how you gradually build the B section back to the return of A - great overall shaping. Maybe for even greater contrast you could use the soft pedal in that middle section.

Thanks for your comments. smile

I think I paid around $180 for each of the AKG mics. I started with one, but Andy (Cinnamonbear) encouraged me to buy another a couple of years later to achieve a true "stereo" sound. On Amazon, new AKG Perception 220 mics are selling for $134. (I think the MSRP is over $300.) I mount them on tripod mic boom stands about 8 feet from the piano.

Would it surprise you to learn that I WAS using the soft pedal on the middle section? My M&H is a very loud instrument - particularly with the lid fully raised. I completely agree with you that more dynamic contrast would really help the B section - and I'm going to continue to work on that !!!

And just a general statement about Schumann's piano music. He certainly liked to incorporate spans of a 10th in so much of it. This is a real challenge in the Symphonic Etudes (final movement - parallel 10ths) and particularly in Aufschwung (the opening theme). I even encountered a 10th in the Northern Song (Opus 68 No. 41) which theoretically was written for children to play. I'm guessing that Clara had unusually large hands !! grin


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Originally Posted by SwissMS
64. Carey (Phil Jones) - Kriegslied (Song of War) Opus 68 No. 31 I can see the soldiers marching off with determination. Beautifully played.
70. Carey (Phil Jones) - Nordisches Lied (Northern Song) Opus 68 No. 41 This one feels very serious and a bit durge-like. Your playing brought out its dark character well.
71. Carey (Phil Jones) - Figurieter Choral (Figured Choral) Opus 68 No. 42 I like the balance between the voices. Very nicely done.
72. Carey (Phil Jones) - Sylvesterlied (New Year's Eve) Opus 68 No. 43 This Sylvester seems more like remembrance, than the celebration of the New Year. Really nice shaping and pacing.
SwissMS - Thanks so much for your kind comments and to others here who have commented on these as well !! I agree that the Sylvester seems unusually laid back for a piece celebrating New Year's Eve. I'm curious as to why Schumann chose it to conclude the opus. Northern Song has been a favorite of mine for many years....reminds me of some of the Grieg Lyric pieces. I love the writing in the Chorale. The Kriegslied is probably a tad difficult for the "average" child pianist.

I'm looking forward to listening to the other submissions in this opus. smile


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Big Opus!

Opus 68 (Album fur die Jugend)
43. scorpio - Op. 68, No. 1 - Melody Many of us have fond memories of trying this piece as a beginner and finding it suprisingly difficult! You do a nice job with this, getting the simplicity down very well and it's controlled nicely. A little variety in dynamics and phrasing would make this shine even more.

44. pianonewbie1 (Piano_primo) - Soldier's March Opus 68 You captured the march extremely well. I really didn't notice you dragging the ends of phrases out too much and it was well controlled and nicely performed.

45. Tom Christian - Trallerliedchen Op 68 No 3 You got the rocking nature of this accompaniment down very well, with a nice balance between the hands. You could really hear the melody and counter melody coming together. Lovely!

46. WimPiano - Op. 68 No 4 - Ein Choral You capture the hymn-like quality of this piece extremely well. Perhaps it could be a teeny bit faster but it's nicely controlled and there is good phrasing. Very enjoyable, thanks.

47. scorpio - Op. 68, No. 6 - The Poor Orphan Nicely phrased piece, with a great build up. The melody could be a little more legato in spots, but there's a lovely feel to it and I liked the end of each phrase a lot, nicely done.

48. Ohio_Mark - The Hunting Song It can always go faster wink but it felt fine. You got the feel of the "hunt" really well, it had nice expression and you should be happy!

49. ajames - Op. 68, 8. Wilder Reiter Yes, this goes at a good pace so well done. Occasionally the melody didn't stand out as clearly as it should but it was there and nicely phrased, perhaps balance the hands a little better? Very nice feel to this!

50. earlofmar - The Merry Farmer Op 68 No 10 Isn't it great when something out of reach becomes manageable? This was very nice, the melody (mostly) was clear but watch in spots it doesn't get obscured. The tempo was very nice and overall it really had a good feel.

51. SwissMS/Doris - Opus 68 No. 12 Knecht Ruprecht There is a great atmosphere to this piece, I think you captured the slightly mysterious nature well. There was a lovely contrast in the sections and you controlled it all very well. Great!

52. WimPiano - Kleine Studie - Album fur die Jugend - Op. 68 No. 14 It's always nice when a study is musical. Very nicely played, lovely phrasing. Very enjoyable.

53. earlofmar - Fruhlingsgesang (Spring song) Op 68 No 15 I think you mentioned all the flaws in your commentary; yes it needs a little more work to flow smoother. What was there was lovely, nicely phrased and different sections. It just needs to be a little smoother.

54. Richard (zrtf90) - Erster Verlust, Op. 68 No. 16 Very delicately played, I love the interplay of the voices. I suspect the "big" chords are marked sforzando (I didn't look at the score to check of course!) but I might be tempted to dial them down a bit, they are almost too shocking.

55. peterws - Roaming in the Morning op 68 17 You enjoyed playing, I enjoyed listening. Yes the liveliness is there, definitely a child roaming in the morning. And within that you have nice phrasing, wonderful dynamic contrasts and a great feel. Did it cut off too suddenly? Sounded like it.

56. ClsscLib - Opus 68 No 18 Reaper's Song I was thinking reaper as in the Grim reaper and it didn't add up. Ah, harvest! Yes, wonderful feel to this. I loved your phrasing of those upward melodic runs, perhaps a little more legato? Nice tempo, it has a great mood.

57. earlofmar - Kleine Romanze (Little romance) Op 68 No 19 It's a little stop-start, I'm not sure if that's intentional but I found it distracted from the nice things you are doing with the melody and balance of the hands.

58. gingko2 - op. 68 no. 21 *** A beautiful piece, a wonder he couldn't find a title! You really bring out the beauty, nice balance of the hands and broad sweeping phrases for the melody. I enjoyed it a lot.

59. malkin - Op. 68 No. 23 Reiterstuck Very well done, yes a dressage horse. The rhythm is spot on and each phrase is nicely brought out with a good dynamic range through the piece and nice contrasts.

60. barbaram - Op 68 no 26 Another untitled piece so you make the story! Really nicely done, the interplay of the voices was great but the melody was always present. You bring the phrases to a close really well; excellent!

61. torquenale (Alessandra) - Erinnerung - op. 68 n. 28 You definitely got the voicing very well, the melody was very clear and the overall shape of the piece (one of the longer ones in this group) was nicely done.

62. Sam S - Strange Man - opus 68 no 29 I think you nailed the mood for this one, very Schumannesque. Big dramatic chords but keeping the melody well shaped. Nice dynamic changes, I think you did better than you think!

63. Sam S - Album for the Young *** opus 68 number 30 A lovely change of pace, very gentle but with great dynamic range. Wonderful balance between the melody and the accompaniment and lovely variety of touches. Loved it!

64. Carey (Phil Jones) - Kriegslied (Song of War) Opus 68 No. 31 I can feel two boys fighting in this, a perfect blend of exhuberence and passion. You voiced the melody very well.

65. Anne H - Opus 68, No 32: Sheherazade Even with sickness, this piece is still delightful. I think I feel the story behind this, nice phrasing and good dynamic range. Perhaps a little too much pedal (or is it reverb) - it was a little smudged?

66. peterws - Mariners Song This has a great feel, really nice interplay between the voices, well balanced melody and it goes along at a nice clip (definitely not too slow). Very nice.

67. Recaredo / Ricardo - Op. 68, Album for the Young No 37. Matrosenlied (Sailors' Song). This is rhythmically challenging but I think you pretty much got. There is a nice dynamic range, good voicing of the melody.

68. noobpianist90 - Winterzeit I (Wintertime I) Op. 68 No. 38 It has that Winter feel captured well. You bring out the beauty well, with nice phrasing a good dynamics. I let it wash over me and before I knew it, I was on Winter II!

69. barbaram - Op 68 no 39 Wintertime II This has a good feel, nice contrast between the sections. It does get a little hesitant but before that it flows wonderfully, with nicely phrased sections and good dynamics - though, yes, a little louder than they should be.

70. Carey (Phil Jones) - Nordisches Lied (Northern Song) Opus 68 No. 41 Why am I thinking of The Beatles? wink It's one of those Schumann pieces with big chords but you keep the melody voiced wonderfully and it never feels vertical. Nicely done.

71. Carey (Phil Jones) - Figurieter Choral (Figured Choral) Opus 68 No. 42 This has that hymnlike quality that I would expect, really nice shaping of the phrases and good dynamic range. Excellent.

72. Carey (Phil Jones) - Sylvesterlied (New Year's Eve) Opus 68 No. 43 Another of those Schumann pieces with the big chords and, again, you shape them very well. It never feels blocky, and I think you captured the essence very well.



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Chiarina, Opus 82, Opus 99
73. Peyton - Chiarina I think you are understating your performance a little. It has a great feel, you picked an excellent tempo and I think the contrasts within the piece are excellently brought out. Since my piano has just been tuned, though, I get to say - get it tuned! wink

74. pavel.k - Waldszenen Op.82 No.3 Einsame Blumen A very beautiful piece, shame you had to staple it together but better that it's here. The beginning section is lovingly played, nice phrasing and voicing. I don't think it dragged at all.

75. noobpianist90 - Vogel als Prophet (Bird as Prophet) Op. 82 No. 7 You really captured the feeling of the birds in the opening section, bravo! Beautiful phrasing and control. The chorale is a similarly lovely; it's a wonderful fix that Schumann has and you do a great job of having both elements of the bird song and the chorale together. Loved it!

76. dire tonic - Nicht schnell, mit Innigkeit Op. 99 no.1 One of those strange titles. Not slow - but really you have to keep a good tempo, which you did wonderfully! There is a wonderful tone, lovely shaped phrases and you voiced it very beautifully.

77. Peyton - Album Leaves Opus 99, No. 2 part 1. Wicked fast is the same everywhere isn't it? Well, the slow section is certainly wonderful. Very stately but carefully phrased and never dragging. It had a great warmth, lovely.

78. dire tonic - Serh Langsam Op.99 no 8 This is a good performance, subtlety is overrated! wink You phrased some of those big movements well, not too overpowering but very present. And the contrast with the softer sections was wonderfully done. I really liked it!

79. Pathbreaker - Album Leaves Op. 99, No. 9 Novelette Obviously a shame you didn't get more time to record but the result is very pleasing anyway. I love the control in those scales, perhaps they need to be a little quieter in comparison to the melody though? The chords are nicely shaped too.


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Originally Posted by carey
Originally Posted by Morodiene
11. Carey (Phil Jones) - Aufschwung (Soaring) Opus 12 No. 2 Another shining performance, Carey! I love the clarity you get on your recordings, too. How much did the AKG mics cost? Where do you have them mounted? I love how you gradually build the B section back to the return of A - great overall shaping. Maybe for even greater contrast you could use the soft pedal in that middle section.

Thanks for your comments. smile

I think I paid around $180 for each of the AKG mics. I started with one, but Andy (Cinnamonbear) encouraged me to buy another a couple of years later to achieve a true "stereo" sound. On Amazon, new AKG Perception 220 mics are selling for $134. (I think the MSRP is over $300.) I mount them on tripod mic boom stands about 8 feet from the piano.

Would it surprise you to learn that I WAS using the soft pedal on the middle section? My M&H is a very loud instrument - particularly with the lid fully raised. I completely agree with you that more dynamic contrast would really help the B section - and I'm going to continue to work on that !!!

And just a general statement about Schumann's piano music. He certainly liked to incorporate spans of a 10th in so much of it. This is a real challenge in the Symphonic Etudes (final movement - parallel 10ths) and particularly in Aufschwung (the opening theme). I even encountered a 10th in the Northern Song (Opus 68 No. 41) which theoretically was written for children to play. I'm guessing that Clara had unusually large hands !! grin


The large chords/handspans required is part of why I've never really delved into Schumann before. I had to make some concessions on a few chords in my pieces as well, but they were minor and probably no one would even notice.

That is interesting you were using the soft pedal...does it change the color of the tone much? Also, did you normalize your recording and/or have a compressor going when you recorded? Sometimes these things can take away from the dynamics.


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52 Wimpiano 68 14

The first of the Bach 48 comes to mind here . . You know, it doesn`t take long for you beginners to really get fired up! Great progress; the future is looking good.

53 earlofmar 68 15

This begs for sustain imo. I`d give it loads, no matter what the score read. Now, this has a most pleasant feel to it like so many of these short pieces do. And you done a good job. . . .

54 Richard zrt40 68 16

Starts off like Bach . . a gr4eat job here; it was all too short!

56 ClsscLib 68 18

This is a tad tricky. I`m having a go at the moment, so I knows! Good job, and nice speed.

57 earlofmar 68 9

Coming together well. It`s hard doing all the stretches and maintaining fluidity at the same time, but I admire you and others who do this as per score. I duck out . . .life`s too bloody short!! grin D`ya like my philosophy?

58 Gingko2 68 21

Reckon we`ve all had our fair share of twists and turns wi Sch. but these short pieces are good for this and are digestible. Very good work on this easy to listen (but not to play) piece.

59 Malkin 68 23

You described the scene well! Being a dressage hors has gotta be better than being eaten, or flogged to death over the sticks! You captured the mood wonderfully well.

Time for dinner. Well, we call it tea. Dinner time is around noon unless you`re posh . . .Don`t mind being posh now and again. I get two dinners that way . .


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My final batch:

Opus 111, 118, 124 and 133. The final batch.
80. Erin (Morodiene) - Op 111 No 2 Ziemlich langsam Just so beautiful, the tempo is just fabulous, it really lets the expression shine through, keeping me on the edge of my seat. Wonderful expression, gorgeous voicing and phrasing. Words cannot express my admiration for this performance! And a wonderful dedication!

81. gingko2 - op. 118 no. 1, Children's Sonata, Allegro I think your notes expressed it well, it seems simple but, like most Schumann it isn't. I think you gave us a great performance, lots of dynamic and expressive contrast. The recording was a problem because it clipped badly at the higher levels, you might have overdone the Audacity volume!

82. SwissMS/Doris - Opus 118 No 1 Sonata in G Theme and Variations How great to be able to learn an ABRSM piece and then use it here! The theme was clear and the variations showed that too. There was nice phrasing and good contrasts of mood but I suspect the tempo needs to increase a couple of notches, though I understand how that impacts the variations that have faster note values!!

83. stumbler / Dave - Albumblatter op 124, no 5, Phantasietanz (Fantastic Dance) Over before I could collect my thoughts! This has a wonderful feel to it, I got the dance impression and the fantasy too. Nice phrasing.

84. Outo - Gesange der Frohe op 133-1
And the end of the recital! I think you overstated the problems, it sounded like a smooth and restrained performance, lovingly phrased and with a sense of where it was heading. A lovely finale.


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37. verqueue - Sonata g minor op. 22

I listened to this a few times, just to get an idea of the piece I don't remember listening to before and I wanted to give Schumann one more chance to change my mind about him as a composer. Your playing is generally so competent that it isn't much different than many live pro recordings. I didn't like the piece that much, but I still enjoyed some moments in this piece more than most of Schumann. It's a mixed bag, but I guess that isn't a problem for me really. The first movement is the best and then it gets downhill from there and in the end one feels kind of disappointed (not on your playing though!).

The first movement was really good, especially considering you didn't have a perfectly tuned and regulated grand to record. I listened to it a few extra times just because I liked it.

In the beginning of the 2nd movement I got the feeling that you didn’t really get into the mood. I wouldn't blame you, it is kind of boring... I feel you were much better connected with the less tender parts in the piece, could it be because you could let out your real feelings towards the piece?
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The scherzo was a bit messy and too Schumanish to my taste.

In the Rondo I felt some of your tempo choices weren't quite right. Also felt like you hurried unnecessarily in some parts. Maybe you just wanted to get it over with asap?

But I think this recording still shows that you are a real pro! Thank you!

And I loved it that you even added some noices to make it like an authentic live recording with an audience grin

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I just want to congratulate everyone. Been listening. Still got some to go. Nice to listen to everybody's work. As usual, I don't list critical thoughts one each one. Just a congratulations to everyone. Would especially like to thank wimpiano for taking over Ein Choral. Nicely done.

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Originally Posted by outo
And I loved it that you even added some noices to make it like an authentic live recording with an audience

What noices? I didn't add anything...

Originally Posted by outo

In the beginning of the 2nd movement I got the feeling that you didn’t really get into the mood. I wouldn't blame you, it is kind of boring... I feel you were much better connected with the less tender parts in the piece, could it be because you could let out your real feelings towards the piece?

Yeah, I had a problem with 2nd movement, I started to work on it very late. I couldn't understand it. I wanted it to be just simple, but I was still struggling with notes wink.

Originally Posted by outo
In the Rondo I felt some of your tempo choices weren't quite right. Also felt like you hurried unnecessarily in some parts. Maybe you just wanted to get it over with asap?

Rondo was too slow, usually performers play it faster, but in less than four months I couldn't get it into right tempo. Probably you felt it was rushed because I wasn't free in this tempo yet and I had to push it in some spots to not loose it.

Originally Posted by outo

But I think this recording still shows that you are a real pro! Thank you!

Thanks smile.

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Originally Posted by verqueue
Originally Posted by outo
And I loved it that you even added some noices to make it like an authentic live recording with an audience

What noices? I didn't add anything...


The loud breathing at some points wink

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Originally Posted by outo
Originally Posted by verqueue
Originally Posted by outo
And I loved it that you even added some noices to make it like an authentic live recording with an audience

What noices? I didn't add anything...


The loud breathing at some points wink

Ah, this. Yeah, I sometimes breathe out loudly when I play. I think I need to do it to relax, it's not something noticable when I'm on stage. After I learn how to use audacity better maybe I'll try to remove this kind of noises wink.

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Verqueue, I've had not time to listen to the recital but did just listen to your Schumann... For someone that does not "understand Schumann" and doesn't even like him all that much... that is pretty magnificent playing. I would like to hear what you do with someone you understand and like! smile

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Originally Posted by Peyton
Verqueue, ... I would like to hear what you do with someone you understand and like! smile

Just go to the Pianist Corner and listen to her Chopin:
February 2015 PW Concert Program


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Originally Posted by torquenale
Originally Posted by Peyton
Verqueue, ... I would like to hear what you do with someone you understand and like! smile

Just go to the Pianist Corner and listen to her Chopin:
February 2015 PW Concert Program


It was kind of rhetorical. smile

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60 Barbaram 68 26

Unusual rhythm! Flowed superbly and voiced nicely Lovely playing, you made it sound easy.

61 Torquanlae Allessandra 68 28

Your piano still sounded good and fit for purposeThis doesn`t sound that sad, but has a normal nostalgic feel to it. You played a blinder and brought this out in the right way, I think.

62 Sam S 68 29

Wow! Loved this stonking piece, intertwined with more gentle bits . . You did it proud wi the dynamics Wonderful!

63 Sam S 68 30

This is totally pleasant, you`re well at home here!

64 Carey Phil Jones 68 31

Dunno about the war theme, it was certainly lively! Difficult to figure out where it goes, so it`s also difficult to pass meaningful comment. But it was an excellent listen and it`s always good to hear you play,

65 Anne H 68 32

Another difficult to follow piece. Having never heard these before, unless it`s totally simple, you have to listen a few times. Now, you handled it well and sound like you enjoy this. And what you said about Schumann and others, is true for me. I would never have played any of `em . . .



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Sorry, I wasn't able to do my next installation until today. I wanted to get the entirety of the Op 21 together, so this segment is a bit longer:

21. peterws - Pleading Child What a short little gem! I was surprised by the sound you chose for this, it sounded just like an old upright that was slightly detuned. Very cool effect. And better to have deliberate mistakes than accidental ones smile

22. dynamobt/Marilyn - Perfect Happiness Op 15 no 5 I enjoy your rubato in this piece which keeps the repetitious nature more interesting. I definitely hear you bringing out the top while making the other voices less. Good job!

23. ElaineAllegro - Opus 15, Kinderszenen, #6: Wichtige Begebenheit (Great Adventure) I didn’t hear any missteps, but great job on those dotted octaves. Octaves themselves are tough, but add a dotted rhythm and look out! I think you did a fine job of this and I encourage you to work on it again at some point in the future - maybe when you can approach your teacher about it to see about the tempo, but I honestly wasn’t bothered by your choice of tempo.

24. dynamobt/Marilyn - Dreaming Op 15 no 7 One of the few Schumann pieces I recognize (outside the Op 68)! I love the tenderness you give this soaring melody. To me it sounds more like day dreaming on a sunny lazy afternoon.

25. Forrest Halford - Schumann Op. 15, #8 "By the Fireside: You give this piece a lightheartedness and joy in how you play it. I really enjoyed the syncopated LH.

26. Forrest Halford - Schumann Op. 15, #9 "Knight of the Rocking Horse" This really does sound like a rocking horse, and from a child’s pint of view - all of the excitement that is going through their imagination as if they are on a real horse!

27. Forrest Halford - Schumann Op. 15, #11 "Frightening" LOL I thought the dishes were my husband in the other room! Hope the move went well, even if you had to endure the fleabag motel frown. I’m not sure if Schumann hit the nail on the head with this title (or was it the editor’s choice? I always wonder about that). I enjoyed your playing, dishes et. al. I think we can all relate to the distractions while trying to practice and record! smile

28. Moonsh1ne (Ken) - Op. 15, No .13 Kinderszenen - Der Dichter Spricht (The Poet Speaks) You can do this after 18 months of piano??? Very fine work! I can tell you knew exactly what you wanted to do musically. Do I hear your wife doing dishes in the background as well? That seems to be a common theme laugh

29., 30., 31. Tim Adrianson - Kreisleriana Op 16 Tim, I know you usually do extensive research on the pieces that you play. Do you have any enlightening tidbits on this Opus? I’ve heard of Kreisleriana from college days when we studied it (but not played). There are some really great moments in this piece that inspire me to want to play it, although I fear it’s a bit beyond me. :)#2 seems to have some beautiful pastoral moments (I think it was 2, it’s hard to tell where the delineation is) that you play beautifully. I love #4… very touching the way you play this.

I wish I knew more about this to give more constructive comments, but all I can say is thank you for participating with this great work!

32. Pover - Op.18 Schumann Arabeske Another familiar piece, I think I had listened to this originally when considering what pieces to play. I enjoyed the dotted rhythm - reminded me of practice sessions where I practice in swinging 8ths smile. I think we are often our harshest critics. I don’t find anything wrong with your interpretation. Sometimes we feel it inside more strongly, but that doesn’t mean it doesn’t come across strongly when you’re not feeling it. Great work!

33. peterws - Novelletten 21 1 It looks like Rondo was one of Schumann’s favorite forms. I like the energy you play throughout this piece, and I didn’t notice the flub smile. Congrats on playing from memory too!

34. chopinoholic (Paul de Koning) - Novelette op.21 no.2 Wow, this piece sounds like it would be quite a technical challenge - finger killer for sure! Hopefully yours fared better than that. With all that going on I can see how it would be difficult to be musical with it, but you still were able to get quite a bit in there. Great playing!

35. Tim Adrianson - Noveletten #5 Another very playful theme from Schumann! I really love the slow B section, however…I’d be content if the whole piece consisted of that smile. Amazing playing, again Tim.

36. Tim Adrianson - Noveletten, #6 Did you study this previously? I’m amazed at how much you’ve played for this recital, and at this level. This piece in particular seems very polished and well-known to you, so I suspect it’s been in your repertoire over the years.


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01. Pianamateur - Papillons, op. 2
Simply incredible given your two years of experience! The moons have not blurred your ability wink
Wonderfully played!

02. Valencia - Davidsbuendlertaenze Op. 6 No. 4 - Ungeduldig (Con impazienza)
So beautiful! Moving!

03. patH (Patrick Hollstein) - Davidsbuendlertaenze op.6, Nr.8 "Frisch"
That must be challenging! So wild!

04. Valencia - Davidsbuendlertaenze Op. 6 No. 10 - Balladenmassig sehr rasch
I see what you mean with the lyrical/poetic pieces being attributed to Florestan. I love the piece!

05. Richard (zrtf90) - Davidsbuendlertaenze op.6, Nr.15 "Frisch"
I really like the arpeggios, they sound like a little stream..
This is a good example of Schumann's music. It creates an atmoshpere, tells a story. Brilliant!

06. Richard (zrtf90) - Davidsbuendlertaenze, Op. 6 No. 16, Mit gutem Humor
I know the feeling that when you listen to your recording that it sounds so much worse than it does on your piano.
I can assure you though that it sounds good! You could have added some humor though wink

07. Richard (zrtf90) - Davidsbuendlertaenze Op. 6 No. 17 Wie Aus der Ferne
That was very delicately played! Wonderful! This music relaxes me laugh

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next batch:
08. timmyab - Three pieces from Carnival op 9
I've looked at the score and am afraid that it will take me another twenty years to be able to play it like you.
You make it sound easy but it certainly isn't. I can feel the atmosphere of late night carnaval!

09. Greener / Jeff Green - Carnaval, Chopin Op. 9, No. 12
As I've mentioned before, I like the authentic sound of your piano!
Beautifully played! It's a shame that Chopin didn't seem to have the same level of admiration for Schumann.

10. Richard (zrtf90) - Des Abends, Op. 12 No. 1
One of my favourite Schumann pieces and you make it sing! I recognize your style from the Op 6. No 15.
Both pieces make me think of a landscape with flowing streams with a setting sun in the summer.

11. Carey (Phil Jones) - Aufschwung (Soaring) Opus 12 No. 2
Very well played, intense! Aufwschwung translates to something like uplifting, and that's what it is, it's skyrocketing with energy laugh
Also love the sound of Mason and Hamlin.

12. dire tonic - Warum? Op. 12 no.3
I am not really into digital pianos but I can see why your setup gets so much praise. It sounds very good!
Of course that's only possible because you play this piece very well!

13. FarmGirl - Op12 No 4 Grillen
Wonderful! Well played, it flows perfectly.
It's a hard piece and I cannot imagine what it is to be four weeks without practice. That must be so annoying.

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14. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 5 In der Nacht
I suppose you have read the story before you played it. Especially in the first and last part I hear him fighting against the waves!
What a sad story though when you hear hime give up and drown.. Wonderfully captured!

15. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 6 Fabel
The start (repeated at the end) sounds so funny and bouncy. They really sneak out don't they wink
Your playing is so good that it has me really focus on just the music and not the playing.

16. hreichgott / Heather W. Reichgott - Fantasiestucke Op. 12 no. 7 Traumes-Wirren
The first section is the type of music my kids love, so perfectly happy!! Pulls a huge smile on my face!
Then the second part, so dark.. Poor kid who dreams this. The repeated theme in the last bit sounds like a party where the kids are so wild that it gets out of hand wink At that point they had too much candy grin

Next batch comes soon. It's been a bit hard to find time to sit and write.

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Hi, Erin! A few comments regarding Kreisleriana:

1 In addition to being an active pianist and composer for solo piano, and a music critic, Schumann also had a keen interest in the literature of his time. One of the popular writers then was E.T.A. Hoffmann (the one referenced in Jacques Offenbach's "Tales of Hoffmann" operetta). Schumann was a great admirer of Hoffmann's stories, and one of Hoffmann's "running" characters in several of his tales was an eccentric music conductor named Johannes Kreisler. So, Schumann took it upon himself to write eight Fantasy pieces, all based on the various adventures in the different tales in which Kreisler played a part.

2 Schumann dedicated this work to Frederic Chopin, and shared it with him; but evidently Chopin returned the work without comment. Schumann also told Clara Wieck (his soon-to-be wife) that she was a significant contributor to its genesis, although he was not more specific than that in his commentary. He wrote the entire set of eight fantasy pieces in only four days, and considered it to be one of his finest efforts.

3 I used the Dover edition, which contains both Clara Wieck's original editing, and some revisions based on subsequent scholarship. In every case, I elected to play Clara Wieck's original version: although some of the passages are unquestionably strange, I thought that they somehow fit the overall conception better than the "corrections". For me, the piano writing is so original and unique, and I never got tired of teasing out the many subtle voicings and gestures that just abound throughout in this score. A tough, tough set of pieces, but well worth it!

You judged correctly that I was more comfortable with the two Novelletten, because I had worked on both extensively some 40 - 50 years back. It was nice to be able to revisit them after all those years. As I've mentioned in this thread, the Novelletten are for some reason very seldom programmed, but to me they are as accessible and delightful as the Fantasiestuecke or the Carnaval, which are played much more often.

I give a special tip of the hat to Chopinoholic for taking on Novellette #2: I always ran out of gas trying to get through that one, although I think it's the most effective of these considerable pieces!

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Thank you very kindly wimpiano for the comments.
I am so glad that what I was trying to communicate in the music came across smile Love the bit about the party going badly/crazily after too much candy toward the end of Traumes-Wirren, that's exactly the right description.




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Album for the Young
This will be the first and probably the last time I will ever listen to this opus completely, but you guys deserve it smile

Since most of the pieces I don't like at all, it's difficult to express so many positive feelings created by the music itself. So please excuse me if I make boring technical comments instead. And take them as coming from a non-expert, I could not have played these any better myself. Every one of you have my respect for your work!

43. scorpio - Op. 68, No. 1 - Melody
That was very nice and clean!


44. pianonewbie1 (Piano_primo) - Soldier's March Opus 68
I believe it's easier for children to play this kind of empty music, but good work anyway smile

45. Tom Christian - Trallerliedchen Op 68 No 3
Good start! You were careful with the rhythm and notes, but you could breathe a little bit between the phrases in the RH and the dynamics weren't really there yet.

46. WimPiano - Op. 68 No 4 - Ein Choral
A nice little chorale. No dynamic variation in the score, I think I would have taken some liberties to make it more interesting. If you still play this, you could try to be a little more careful with playing the notes together at some parts. But nice work!

47. scorpio - Op. 68, No. 6 - The Poor Orphan
This album for the young (prodigies?) gets technically difficult really fast... At some point I thought it could be used for sight reading practice, but was I wrong.

To make this one sound really good would require so much skill with dynamics, tempo changes, phrasing and then all those interval figurations (which sounded a bit too heavy to me now). All this skill is usually acquired with more experience. So good work getting the basics right!


48. Ohio_Mark - The Hunting Song
And next a piece with many challenges in articulation. I don't think your tempo was bad and it wasn't that uneven either, but I missed the dynamics to make this piece even a little interesting...


49. ajames - Op. 68, 8. Wilder Reiter
Good work! But I could somewhat hear the tension created in the staccato notes by you pushing for the tempo and it didn't allow for much expression. Then again maybe there just isn't much to express in this kind of a piece.


What happened to Sicilienne? No one picked it? IMO It's one of the nicer one in this op frown

51. SwissMS/Doris - Opus 68 No. 12 Knecht Ruprecht
You captured the mood of the character really well! Maybe slightly uneven in some parts, but in general it was very well done.

52. WimPiano - Kleine Studie - Album fur die Jugend - Op. 68 No. 14
Many good things in this little study, I think you just needed more practice time to achieve more evenness. And sometimes you hurried a bit smile

53. earlofmar - Fruhlingsgesang (Spring song) Op 68 No 15
You are right about this being quite complex and it requires skillful voicing of the melody. Sometimes it's really difficult to keep the legato melody together with the way Schumann writes, especially if one does not have big hands. You managed some parts better than others.

IMO You should not shy away from the use pedal, even if it's not written on the score. It's totally acceptable to use the pedal to help when your fingers are not enough. And pedal isn't always written on the score, but it would have been used anyway in the romantic era. And depending on the piano you play on, the sound may be just too dry to play something like this without. Schumann's pianos were far different from ours.


Time for lunch, to be continued...


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A few more:

54. Richard (zrtf90) - Erster Verlust, Op. 68 No. 16
Very nicely played!


55. peterws - Roaming in the Morning op 68 17
That was lively indeed! I think your set up didn't bring out the dynamics enough, but nice playing smile

56. ClsscLib - Opus 68 No 18 Reaper's Song
Well played! Maybe the piano parts could have been a bit more delicate.

57. earlofmar - Kleine Romanze (Little romance) Op 68 No 19
I think your playing was ok, but I don't see the romance in this piece at all. Of course Schumann's idea of a romance might be quite different to mine confused

I wouldn’t worry about the tempo, but rather try to get a bit more smoothness into the piece and experiment with the pedalling, it easily gets quite choppy (I hope you get what I mean, a better English word doesn't come to me now).

58. gingko2 - op. 68 no. 21 ***
Nice and calm smile

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Originally Posted by Tim Adrianson
Hi, Erin! A few comments regarding Kreisleriana:

1 In addition to being an active pianist and composer for solo piano, and a music critic, Schumann also had a keen interest in the literature of his time. One of the popular writers then was E.T.A. Hoffmann (the one referenced in Jacques Offenbach's "Tales of Hoffmann" operetta). Schumann was a great admirer of Hoffmann's stories, and one of Hoffmann's "running" characters in several of his tales was an eccentric music conductor named Johannes Kreisler. So, Schumann took it upon himself to write eight Fantasy pieces, all based on the various adventures in the different tales in which Kreisler played a part.

2 Schumann dedicated this work to Frederic Chopin, and shared it with him; but evidently Chopin returned the work without comment. Schumann also told Clara Wieck (his soon-to-be wife) that she was a significant contributor to its genesis, although he was not more specific than that in his commentary. He wrote the entire set of eight fantasy pieces in only four days, and considered it to be one of his finest efforts.

3 I used the Dover edition, which contains both Clara Wieck's original editing, and some revisions based on subsequent scholarship. In every case, I elected to play Clara Wieck's original version: although some of the passages are unquestionably strange, I thought that they somehow fit the overall conception better than the "corrections". For me, the piano writing is so original and unique, and I never got tired of teasing out the many subtle voicings and gestures that just abound throughout in this score. A tough, tough set of pieces, but well worth it!

You judged correctly that I was more comfortable with the two Novelletten, because I had worked on both extensively some 40 - 50 years back. It was nice to be able to revisit them after all those years. As I've mentioned in this thread, the Novelletten are for some reason very seldom programmed, but to me they are as accessible and delightful as the Fantasiestuecke or the Carnaval, which are played much more often.

I give a special tip of the hat to Chopinoholic for taking on Novellette #2: I always ran out of gas trying to get through that one, although I think it's the most effective of these considerable pieces!
Thanks for all the info, Tim! I think with many pieces it's important to work on them, and then revisit them every few years as they become more and more natural to play. Too often I just keep moving onto new things and really I should do some revisiting smile


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Originally Posted by hreichgott
Thank you very kindly wimpiano for the comments.
I am so glad that what I was trying to communicate in the music came across smile Love the bit about the party going badly/crazily after too much candy toward the end of Traumes-Wirren, that's exactly the right description.
Heather - This morning I downloaded a copy of the score for Opus 12 No. 5 and read through it -- slowly. Doing so greatly increased my appreciation of YOUR achievement in performing this challenging work. Bravo !!!!!! thumb thumb thumb

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Originally Posted by Morodiene
That is interesting you were using the soft pedal...does it change the color of the tone much?
Not too much - but it makes the overall sound of the piano easier to control.
Quote
Also, did you normalize your recording and/or have a compressor going when you recorded? Sometimes these things can take away from the dynamics.
That's quite true - but in this instance - even using the soft pedal - I simply played the middle section too loud. grin


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67 Recaredo op68

Wondering what Sch was conveying here . . the Volga Boat Song . . ! Maybe not. It had a curious character, but still captivating. I enjoyed how you played this and the strength and atmosphere you gave to it. Well done.

68 Noobpianist 68 38

You did do well with this, The dynamics are never easy, sometimes I think the recording reduces them. But it still sounded well and conveyed Sch`s intentions well.

69 Barbaram 68 39

Some dramatic dynamics here! A somber piece here, methinks. It wasn`t easy but nonetheless sounded sweet.

70 Carey Phil Jones 68 41

Just loved that. Very impressive and stately! Well, you did ask for technical feedback . . grin

71 Carey, 68 42

Can`t imagine kids playing this . . .it`s too adult for me! Lovely job as usual, Phil.

And here endeth my technical comments. Such as they are!

Have fun . . it`s been all good.


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Originally Posted by carey
Heather - This morning I downloaded a copy of the score for Opus 12 No. 5 and read through it -- slowly. Doing so greatly increased my appreciation of YOUR achievement in performing this challenging work. Bravo !!!!!! thumb thumb thumb

Thank you Carey. If I have sucked one more person into the weird world of Op. 12 then mission accomplished. Have a wonderful time.


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59. malkin - Op. 68 No. 23 Reiterstuck
Well done with the horse! I very rarely get any concrete visual images from a piece of music, but this time I could actually see the horse making those movements smile

60. barbaram - Op 68 no 26
Well played. Not sure much more can be brought into a piece like this...

More than half way through op 68... I notice I must listen in smaller chunks to avoid my dislike for the composer's style to have too much effect on my listening wink

61. torquenale (Alessandra) - Erinnerung - op. 68 n. 28
Nice, you bring out the melody well! Only the decorations need a little bit work.

62. Sam S - Strange Man - opus 68 no 29
You did quite well smile

The problem is that old Robbie was SO literal in these character pieces, it's annoying to me. Even as a child I hated it when I was told to depict something concrete while playing, not because I didn't have a vivid imagination but because I didn't want to play cats and dogs...or merry farmers...

I guess the soft passages are the stranger being nice and offering candy to the frightened children to lure them into following him grin

63. Sam S - Album for the Young *** opus 68 number 30
Good work with the melody! A little repetitive maybe, but still a piece I might think of playing myself (if my Schumann elbow ever heals). I would have liked to hear the bass voice a bit more.

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Originally Posted by peterws


71 Carey, 68 42

Can`t imagine kids playing this . . .it`s too adult for me! Lovely job as usual, Phil.

You realize that everything in the Album for the Young from No 19 onwards is marked as:
"Fur Erwachsenere" or "For Older People" wink

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Originally Posted by wimpiano
Originally Posted by peterws


71 Carey, 68 42

Can`t imagine kids playing this . . .it`s too adult for me! Lovely job as usual, Phil.

You realize that everything in the Album for the Young from No 19 onwards is marked as:
"Fur Erwachsenere" or "For Older People" wink
Thanks for the clarification. I can't speak for Peter - but I'm a bit embarrassed to confess that I never knew this pertinent piece of information. And yes, it makes all the sense in the world !! Perhaps Schumann should've titled the opus "Album for the Young and/or the Young at Heart !! ha



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Originally Posted by carey
Originally Posted by wimpiano
Originally Posted by peterws


71 Carey, 68 42

Can`t imagine kids playing this . . .it`s too adult for me! Lovely job as usual, Phil.

You realize that everything in the Album for the Young from No 19 onwards is marked as:
"Fur Erwachsenere" or "For Older People" wink
Thanks for the clarification. I can't speak for Peter - but I'm a bit embarrassed to confess that I never knew this pertinent piece of information. And yes, it makes all the sense in the world !! Perhaps Schumann should've titled the opus "Album for the Young and/or the Young at Heart !! ha

Let's just cover all the bases: "Album for the Young/Young-at-Heart/Wish-I-Were-Young"


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Originally Posted by Morodiene
Originally Posted by carey
Originally Posted by wimpiano
Originally Posted by peterws

71 Carey, 68 42
Can`t imagine kids playing this . . .it`s too adult for me! Lovely job as usual, Phil.
You realize that everything in the Album for the Young from No 19 onwards is marked as:"Fur Erwachsenere" or "For Older People" wink
Thanks for the clarification. I can't speak for Peter - but I'm a bit embarrassed to confess that I never knew this pertinent piece of information. And yes, it makes all the sense in the world !! Perhaps Schumann should've titled the opus "Album for the Young and/or the Young at Heart !! ha

Let's just cover all the bases: "Album for the Young/Young-at-Heart/Wish-I-Were-Young"
grin grin grin thumb


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The last ones from op 68:

64. Carey (Phil Jones) - Kriegslied (Song of War) Opus 68 No. 31
Very convincing playing and such good recording quality too!

65. Anne H - Opus 68, No 32: Sheherazade
Considering the circumstances you did well. But there were really not much variation or highlights in this, felt like the whole piece was the same. More pronounced phrasing might help.

66. peterws - Mariners Song
Good work with the staccato thirds! Seems you were quite comfortable with the piece.

67. Recaredo / Ricardo - Op. 68, Album for the Young No 37. Matrosenlied (Sailors' Song).
It must have been quite challenging and there may have been some rhythmical inprecisiosn, but the idea of the piece came out well.


General comment: If the latter half of this op was meant for slightly older players I fail to see the maturity in most of the music. The whole op seems musically very childlike to me and that must be why they appeal to some people more than others. I think I missed being a “normal” child and was taken over by cynicism as soon as I learned to think grin


68. noobpianist90 - Winterzeit I (Wintertime I) Op. 68 No. 38
Not easy, so good work! The German winters must be quite mellow compared to hours, since If I didn't know better I would have thought of spring wink

69. barbaram - Op 68 no 39 Wintertime II
Loved how you captured the mystery feel in the beginning. I kind of liked this piece, except for the loud chords Schumann insisted on adding to almost every piece whether they make sense or not...

General comment:
I think I am beginning to get a crasp of my issues with Schumann... He didn't know how to edit his ideas, resulting in inconsistency and too many unnecessary and even disturbing details. Listening to so much of his output I'm beginning to wonder if he was a bit bipolar...


70. Carey (Phil Jones) - Nordisches Lied (Northern Song) Opus 68 No. 41
Schumann wrote many nice choral type pieces, which show his talent with harmony. This was enjoyable.

71. Carey (Phil Jones) - Figurieter Choral (Figured Choral) Opus 68 No. 42
Nice piece and lovely playing!

72. Carey (Phil Jones) - Sylvesterlied (New Year's Eve) Opus 68 No. 43
In contrast to the last few, I didn't get this piece at all...But the playing was fine.

Ok, what's next? Op 15 I guess since I have it in the same book...

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@outo,
He was long regarded indeed manic depressive. However:
Quote
if we understand Schumann as the unfortunate victim of a sexually transmitted disease in the pre-penicillin era, his whole life takes on a different coloration. Instead of the creator who cranked out an astonishing amount of music in a very short time because of his manic-depressive mindset, we instead see him as a creator trying his best to get as much money as he could for his wife and family as possible in order to make ends meet and justify the faith his wife had in him when she risked the estrangement of her father to be with the man she loved.

(from: http://classicalgreg.com/?p=209)

The Album for the Young was a bestseller for him.
Before you write off the album as to shallow or to childish you might want to read this:

Quote

Composed in 1848, the set of 43 pieces which make up the Album für die Jugend Op. 68, with a performance duration in excess of 70 minutes, represents Schumann’s most extensive work for piano. It is separated into two parts, Nos. 1–18 “Für Kleinere” and Nos. 19–43 “Für Erwachsenere” (“For the littler ones” and “For the more grown-up ones”). It is one of Schumann’s most unusual and multifaceted piano compositions and its significance has never been fully appreciated, even today. It is among the least recorded and performed of Schumann’s works. And yet the whole of Schumann’s cosmos is to be found in this set, from the most intimate poetry (e.g. Nos. 21, 30, 38) to great romantic gestures like Nos. 12 and 31, eerie nightmares like Nos. 23 and 29, and the gloomy, melancholic landscapes so typical of the late works, like Nos. 34, 37, 39 and 41.

The cycle is a totally shattering profile of spiritual development, beginning with the innocently naïve and childish Nos. 1-5, where no shadows are yet to be found. With No. 6 comes the first small cloud: Das arme Waisenkind (“The poor orphan”) brings a forlorn touch which has to be taken seriously. Thereafter, apart from a short interlude with the Volksliedchen (“Little folksong”) of No. 9, Nos. 10 and 11 are vigorous and vividly expressive pieces, and with Nos. 12 and 13 the cycle for the first time leaves behind – so far as technical demands are concerned – the child’s world. Nos. 14–18 end the first section with no more than passing cloudshadows (the amorphous Kleine Studie, No. 14, and Erster Verlust, No. 16, a first loss which is still bearable).

In the second section, the tone changes, with a contrast between the friendly A major of Nos. 20, 22, 24 and 28 and the intervening pieces, like the sad Kleine Romanze, No. 19, the magnificently inspired Nos. 21 and 26, the sinister Reiterstück, No. 23, the excited No. 25. With the nightmarish Fremder Mann, No. 29, the set takes a final turn towards a clouded and pensive mood. Apart from the somewhat lighter pieces, Nos. 33, 40 and 43, the remaining ten numbers are wonderful examples of the uniquely introverted world of late Schumann. The lost dreamworld of Nos. 30, 32, 35 and to some extent No. 42, the crazily circling, desparate boastings of the Kriegslied, No. 31, No. 34, entitled Thema but without anything recognizable as a theme, the menacing Matrosenlied (“Sailors’ Song”), No. 37, the shatteringly inspired genius of No. 38, Winterszeit I, or the reminiscence at the end of No. 39, Winterszeit II, where a fragment from Papillons, Op. 2 sounds out again from some remote and distant past. The childishly simple Choral of No. 4, finally becomes in No. 42, Figurierter Choral, an intricate, fantastic image.

With the folk-song-like Silvesterlied (“Song for New Year’s Eve”) Schumann closes this great cycle, whose complexity and level of inspiration makes it worthy of a place alongside the great early works.

(from http://www.oehmsclassics.com/cd.php?formatid=193&sprache=eng)

BTW. Slightly older people still means kids, but in this case I assume it's about teenagers..

Of course if cynicism is your major emotion and music that primarily communicates emotions such as Chopin is your thing, a story teller such as Schumann will remain an acquired taste for you.

It also (according to some) seems to have paralells with Blakes Songs of Innocence and Experience:
http://www.appca.com.au/proceedings/2009/part_2/Green_Elizabeth.pdf


Last edited by wimpiano; 03/31/15 06:21 AM.
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Originally Posted by wimpiano

@outo,
He was long regarded indeed manic depressive. However:
Quote
if we understand Schumann as the unfortunate victim of a sexually transmitted disease in the pre-penicillin era, his whole life takes on a different coloration. Instead of the creator who cranked out an astonishing amount of music in a very short time because of his manic-depressive mindset, we instead see him as a creator trying his best to get as much money as he could for his wife and family as possible in order to make ends meet and justify the faith his wife had in him when she risked the estrangement of her father to be with the man she loved.

(from: http://classicalgreg.com/?p=209)

The Album for the Young was a bestseller for him.
Before you write off the album as to shallow or to childish you might want to read this:

Quote

Composed in 1848, the set of 43 pieces which make up the Album für die Jugend Op. 68, with a performance duration in excess of 70 minutes, represents Schumann’s most extensive work for piano. It is separated into two parts, Nos. 1–18 “Für Kleinere” and Nos. 19–43 “Für Erwachsenere” (“For the littler ones” and “For the more grown-up ones”). It is one of Schumann’s most unusual and multifaceted piano compositions and its significance has never been fully appreciated, even today. It is among the least recorded and performed of Schumann’s works. And yet the whole of Schumann’s cosmos is to be found in this set, from the most intimate poetry (e.g. Nos. 21, 30, 38) to great romantic gestures like Nos. 12 and 31, eerie nightmares like Nos. 23 and 29, and the gloomy, melancholic landscapes so typical of the late works, like Nos. 34, 37, 39 and 41.

The cycle is a totally shattering profile of spiritual development, beginning with the innocently naïve and childish Nos. 1-5, where no shadows are yet to be found. With No. 6 comes the first small cloud: Das arme Waisenkind (“The poor orphan”) brings a forlorn touch which has to be taken seriously. Thereafter, apart from a short interlude with the Volksliedchen (“Little folksong”) of No. 9, Nos. 10 and 11 are vigorous and vividly expressive pieces, and with Nos. 12 and 13 the cycle for the first time leaves behind – so far as technical demands are concerned – the child’s world. Nos. 14–18 end the first section with no more than passing cloudshadows (the amorphous Kleine Studie, No. 14, and Erster Verlust, No. 16, a first loss which is still bearable).

In the second section, the tone changes, with a contrast between the friendly A major of Nos. 20, 22, 24 and 28 and the intervening pieces, like the sad Kleine Romanze, No. 19, the magnificently inspired Nos. 21 and 26, the sinister Reiterstück, No. 23, the excited No. 25. With the nightmarish Fremder Mann, No. 29, the set takes a final turn towards a clouded and pensive mood. Apart from the somewhat lighter pieces, Nos. 33, 40 and 43, the remaining ten numbers are wonderful examples of the uniquely introverted world of late Schumann. The lost dreamworld of Nos. 30, 32, 35 and to some extent No. 42, the crazily circling, desparate boastings of the Kriegslied, No. 31, No. 34, entitled Thema but without anything recognizable as a theme, the menacing Matrosenlied (“Sailors’ Song”), No. 37, the shatteringly inspired genius of No. 38, Winterszeit I, or the reminiscence at the end of No. 39, Winterszeit II, where a fragment from Papillons, Op. 2 sounds out again from some remote and distant past. The childishly simple Choral of No. 4, finally becomes in No. 42, Figurierter Choral, an intricate, fantastic image.

With the folk-song-like Silvesterlied (“Song for New Year’s Eve”) Schumann closes this great cycle, whose complexity and level of inspiration makes it worthy of a place alongside the great early works.

(from http://www.oehmsclassics.com/cd.php?formatid=193&sprache=eng)

BTW. Slightly older people still means kids, but in this case I assume it's about teenagers..

Of course if cynicism is your major emotion and music that primarily communicates emotions such as Chopin is your thing, a story teller such as Schumann will remain an acquired taste for you.

It also (according to some) seems to have paralells with Blakes Songs of Innocence and Experience:
http://www.appca.com.au/proceedings/2009/part_2/Green_Elizabeth.pdf


Thanks for all the information, you are a very good spokes person for Schumann indeed smile

I don't necessarily associate childishness with shallowness, so I wouldn't say Schumann was shallow at all. On the contrary I think I am quite shallow myself when it comes to emotions. I am not sure cynisism is my MAJOR emotion, but I definitely can't remember ever enjoying entertainment aimed for children much, even when I was one. I was always the one keeping some distance and wondering what all the hype was about. This of course does not mean that I am not immature in many other ways grin

I do like many pieces of music that couldn't be further away from the Chopin type melancholy and restrained passion, but I do tend to like music that is more "serious" (not to be read as better or more difficult) in nature. The romantic era brought forward many different styles of composition and not all of them are to my liking.

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Op 15:
I kind of hate some of the pieces in this op (haven't been able to listen to the Traumerei for a long time and even Martha could not make me enjoy nr. 1). But this is a special occasion so here we go!

18. sinophilia (Diana) - Op. 15 no. 1 - Von Fremden Laendern und Menschen
It worked well like that, a bit slower. Beautifully played.

19. Forrest Halford - Schumann Op. 15, #2 "A Curious Story"
20. Forrest Halford - Schumann Op. 15, #3 "Catch Me"
I must say the sound of a real piano is refreshing and makes everything so much more real. The digitals tend to sound "stuffy" to me. And the different tuning sounds good. Maybe I should't judge poor Robbie quite so hard considering I haven't heard him on period instruments. Nr. 3 was actually a very nice little dance-like piece and you played it really well!

21. peterws - Pleading Child
Well done!

22. dynamobt/Marilyn - Perfect Happiness Op 15 no 5
You managed the voices quite well. Good work!

23. ElaineAllegro - Opus 15, Kinderszenen, #6: Wichtige Begebenheit (Great Adventure)
You did fine with the octaves. Apart from the slight rhythmic inaccuracies it was very well done!

24. dynamobt/Marilyn - Dreaming Op 15 no 7
You played it very well and expressively, but nothing can change my views on this piece...

25. Forrest Halford - Schumann Op. 15, #8 "By the Fireside:
Again a very good performance!

26. Forrest Halford - Schumann Op. 15, #9 "Knight of the Rocking Horse"
Well played, but the piece couldn't keep my interest for a second...

27. Forrest Halford - Schumann Op. 15, #11 "Frightening"
I just don't get what's serious about this piece at all?
Of course I didn't because it wasn't nro 10 as I expected, didn't read the title ha
Another try... Didn't get it now either. But YOU had nothing to be frightened of!

28. Moonsh1ne (Ken) - Op. 15, No .13 Kinderszenen - Der Dichter Spricht (The Poet Speaks)
This is a piece with some complex rhythmic figures and requires skillful voicing. So for only 18 months you did good!

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outo, thank you for your comment... but is there any music you like? It looks like you hate so many composers. What kind of music do you like to play?

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Originally Posted by sinophilia
outo, thank you for your comment... but is there any music you like? It looks like you hate so many composers. What kind of music do you like to play?


I love so many composers! There aren't that many I hate really, those just seem to be quite popular here... There are some I don't like, but don't really dislike either. And the rest I do like. Some very famous and some less smile

Just to list a few composers I generally like (of course not necessarily their whole output):
Scarlatti, Rameau, Chopin, Scriabin, Shostakovich, Franck, Satie, Casella, Schoenberg, Balakirev, Liadov, Brahms, Mendehlsson, Faure, Hummel, Kabalevsky, Medtner, Mozkovsky, Palmgren...

My favorite music to play is Baroque, but I'd like to learn Romantic and 20th century stuff too.


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oops

Last edited by outo; 03/31/15 10:48 AM.
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Originally Posted by outo
Originally Posted by wimpiano

@outo,
He was long regarded indeed manic depressive. However:
Quote
if we understand Schumann as the unfortunate victim of a sexually transmitted disease in the pre-penicillin era, his whole life takes on a different coloration. Instead of the creator who cranked out an astonishing amount of music in a very short time because of his manic-depressive mindset, we instead see him as a creator trying his best to get as much money as he could for his wife and family as possible in order to make ends meet and justify the faith his wife had in him when she risked the estrangement of her father to be with the man she loved.

(from: http://classicalgreg.com/?p=209)

The Album for the Young was a bestseller for him.
Before you write off the album as to shallow or to childish you might want to read this:

Quote

Composed in 1848, the set of 43 pieces which make up the Album für die Jugend Op. 68, with a performance duration in excess of 70 minutes, represents Schumann’s most extensive work for piano. It is separated into two parts, Nos. 1–18 “Für Kleinere” and Nos. 19–43 “Für Erwachsenere” (“For the littler ones” and “For the more grown-up ones”). It is one of Schumann’s most unusual and multifaceted piano compositions and its significance has never been fully appreciated, even today. It is among the least recorded and performed of Schumann’s works. And yet the whole of Schumann’s cosmos is to be found in this set, from the most intimate poetry (e.g. Nos. 21, 30, 38) to great romantic gestures like Nos. 12 and 31, eerie nightmares like Nos. 23 and 29, and the gloomy, melancholic landscapes so typical of the late works, like Nos. 34, 37, 39 and 41.

The cycle is a totally shattering profile of spiritual development, beginning with the innocently naïve and childish Nos. 1-5, where no shadows are yet to be found. With No. 6 comes the first small cloud: Das arme Waisenkind (“The poor orphan”) brings a forlorn touch which has to be taken seriously. Thereafter, apart from a short interlude with the Volksliedchen (“Little folksong”) of No. 9, Nos. 10 and 11 are vigorous and vividly expressive pieces, and with Nos. 12 and 13 the cycle for the first time leaves behind – so far as technical demands are concerned – the child’s world. Nos. 14–18 end the first section with no more than passing cloudshadows (the amorphous Kleine Studie, No. 14, and Erster Verlust, No. 16, a first loss which is still bearable).

In the second section, the tone changes, with a contrast between the friendly A major of Nos. 20, 22, 24 and 28 and the intervening pieces, like the sad Kleine Romanze, No. 19, the magnificently inspired Nos. 21 and 26, the sinister Reiterstück, No. 23, the excited No. 25. With the nightmarish Fremder Mann, No. 29, the set takes a final turn towards a clouded and pensive mood. Apart from the somewhat lighter pieces, Nos. 33, 40 and 43, the remaining ten numbers are wonderful examples of the uniquely introverted world of late Schumann. The lost dreamworld of Nos. 30, 32, 35 and to some extent No. 42, the crazily circling, desparate boastings of the Kriegslied, No. 31, No. 34, entitled Thema but without anything recognizable as a theme, the menacing Matrosenlied (“Sailors’ Song”), No. 37, the shatteringly inspired genius of No. 38, Winterszeit I, or the reminiscence at the end of No. 39, Winterszeit II, where a fragment from Papillons, Op. 2 sounds out again from some remote and distant past. The childishly simple Choral of No. 4, finally becomes in No. 42, Figurierter Choral, an intricate, fantastic image.

With the folk-song-like Silvesterlied (“Song for New Year’s Eve”) Schumann closes this great cycle, whose complexity and level of inspiration makes it worthy of a place alongside the great early works.

(from http://www.oehmsclassics.com/cd.php?formatid=193&sprache=eng)

BTW. Slightly older people still means kids, but in this case I assume it's about teenagers..

Of course if cynicism is your major emotion and music that primarily communicates emotions such as Chopin is your thing, a story teller such as Schumann will remain an acquired taste for you.

It also (according to some) seems to have paralells with Blakes Songs of Innocence and Experience:
http://www.appca.com.au/proceedings/2009/part_2/Green_Elizabeth.pdf


Thanks for all the information, you are a very good spokes person for Schumann indeed smile

I don't necessarily associate childishness with shallowness, so I wouldn't say Schumann was shallow at all. On the contrary...

As analogy, The Beatles wrote some of the poignant music lyrics and hymnal type harmony capturing the social movements of the 60’s and 70’s in music. Yet they also had a cartoon show on Sundays for children in the 60’s.
Ringo was on Sesame Street in the 80’s and 90’s.

So, one can think of the children’s music as an altruism from Schumann…
I don’t think it’s meant as a deeper appreciation of piano music for adults ..
Sort of like, Yellow Submarine as opposed to The Long and Winding Road.
Though the former seems silly musically, the lyrics may not be….
This is interesting; I found on the internet many different stories and books written about Schumann and subjects regarding the possibilities of him being ill and possibly a mania propelling his art.

But, up until the 1930’s anyone living had to live “on a tightrope’ in daily life.
For instance, TB the largest villain, infections, typhus, (Tchaikovsky died of typhus from drinking unfiltered , unboiled? water ), VD, and even vitamin deficiencies wrecked lives.
Most causes of disease weren’t known yet alone cures, and superstition and strict morality saved lives
In spite of any of that, the common person was extraordinary for raising a family and surviving. A skilled artisan was probably perceived as a magician or eccentric.
I assume education was somewhat regarded as sanctity, as compared to modern days.
Here’s an excerpt from a study lesson I have re: Schumann…
Please excuse the typos it is OCR’d


1965 USSM-Piano
“ROBERT SCHUMANN~—- COMPOSER AND CRITIC
One of the great masters of composition, Robert
Schumann, was also one of the fairest critics of music.
In 1834, he founded a newspaper and remained its
editor for 10 years. In it, he wrote articles under pen
names on various musical subjects, concerts of the day,
composers and artists and their works. He was the
son of a book-seller and his literary tastes were as keen
u his musical talents. His essays and criticisms (signed
with the pen names Florestan, Eusebius, Meister Raro,
Jeanquirit etc.,) are among the noblest works in the
history of criticism, particularly in the matter of recog-
nizing new genius.
Schumann began composing at the age of 6 and also
showed ne promise as a young pianist. However, in
trying to acquire independence of the ngers by sus-
pending the fourth nger of the right hand in a sling
while practicing with the others, he crippled this nger
and spoiled his ambition to be the chief virtuoso of
his time. Naturally, this strengthened his efforts in
composition. The musical world has never been sorry.
Schumann married Clara Wieck, his piano teacher's
daughter. who was a distinguished pianist in her own
right. She took over the job of making his music
known to the public by constantly playing his compo-
sitions.
While studying at the famous Conservatory of Music
in Leipzig, the co-founder of the U. S. SCHOOL OF
MUSIC, Mrs. David F. Kemp, played for Clara Schu-
mann, and heard Brahms and Grieg conduct.

MR. SCHUMANN SUGGESTS
Here is part of a famous essay Rules for Young Musi-
cians by Robert Schumann. in it the great composer has
given some wonderfully useful hints for all music stu-
dents. You will nd them especially valuable because
Schumann understood the piano so well.
(1) The most important thing is to cultivate the Sense
of Hearing. Take pains early to distinguish Tones
and Keys by the ear. The bell, the window-pane, the
cuckoo—seek to find what tones they each give out.
(2) You must diligently practice Scales and other
nger exercises. But there are many persons who
imagine all will be accomplished if they keep on spend-
ing many hours each day, till they grow old, in mere
mechanical practice. It is about as if one should busy
himself daily with repeating the A-B-Cs as fast as
possible, and always faster and faster. Use your time
better.
(3) Strive to play easy pieces well and beautifully.
It is better than to render harder pieces only indiffer-
ently well.
(4) Dragging and hurrying are equally great faults.
(5) You must not only be able to play your little
pieces with the ngers; you must be able to hum them
over without a piano. Sharpen your imagination so
that you may x in your mind not only the Melody of
a composition, but also the Harmony belonging to it.
(6) Accustom yourself, even though you have but
little voice, to sing without the aid of an instrument.
The sharpness of your hearing will continually improve
by that means. But if you are the possessor of a rich
voice, lose not a moment's time, but cultivate it, and
consider it the fairest gift which heaven has lent you.
(7) If you begin to compose, make it all in your head.
When you have got a piece all ready, then try it on the
instrument. If your music came from your inmost
soul, if you have felt it, then it will take effect on others.
(8) Children cannot be brought up on sweetmeats
and confectionery to be sound and healthy men. As the
physical, so must the mental food be simple and nour-
ishing. The masters have provided amply for the latter;
keep to that.
(9) Learn the fundamental laws of Harmony.
(10) You must gradually make acquaintance with all
the more important works of all the important masters.
(ll) Do not judge of a composition on a rst hear-
ing; what pleases you in the rst moment is not always
the best. Masters would be studied. Much will become
clear to you for the rst time in your old age.
(12) Reverence the Old, but meet the New also with
a warm heart. Cherish no prejudice against names
unknown to you.
(13) If you can nd out little melodies for yourself
on the piano, it is all very well. But if they come of
themselves, when you are not at the piano, then you
have still greater reason to rejoice, for then the inner
sense of music is astir in you. The ngers must make
what the head wills, not vice verso.
(14) Listen attentively to all songs of the people, they
are a mine of the most beautiful melodies, and open
for you glimpses into the character of different nations.
(15) The study of the History of Music, supported
by the actual hearing of the master compositions of the
different epochs, is the shortest way to cure you of self-
esteem and vanity.
(16) Love your instrument, but do not have the
vanity to think it the highest and only one. Consider
that there are others quite as ne. Remcrnbt-r, too,
that there are singers; that the highest manifestations
in Music are through chorus and orchestra combined.
(17) Omit no opportunity to play with others in ducts,
trios, etc. It makes your playing fluent, spirited and
easy. Accompany a singer when you can.
(18) \Nl1at is it to be musical? You are not so, if
with eyes fastened anxiously on the notes, you play a
piece through painfully to the cntl. You are not so,
if, when someone turns over two pages at once, you
stick and cannot go on. But you are musical, if, in a
new piece, you anticipate pretty nearly what is coming,
and in an old piece, know it by heart; in a word, if
you have Music, not in your ngers only, but in your
head and heart……



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Oh thank you Primo. I care very little for Schumann, except for a few pieces, I find his writing about music is great.

Last edited by Jytte; 03/31/15 12:06 PM.

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Originally Posted by Jytte
Oh thank you Primo. I care very little for Schumann, except for a few pieces, I find his writing about music is great.

Sorry ,
I thought I was in Hyde Park......
on a Soapbox,,, cool
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I'll put it away now....



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Maybe my sentence was unclear? I absolutely loved reading that, so very happy you posted. No need to be sorry smile

Oh, btw, I love Hyde Park, so go right ahead some other time laugh


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My mother always warned me not to play with others in ducts


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Originally Posted by Moonsh1ne
My mother always warned me not to play with others in ducts


Not live, but perhaps taped?


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peterws, Jytte, outo, barbaram, Andy, SwissMS: Thanks for your comments!

Doris, I’ll be working on the 2nd movement of 118. What you’ve done is solid, and I’m sure you’ll be pleased with the results in another couple months. I appreciate your comments on op. 68 #21 *** . It seemed simple but has lots of depth. Hope I can do it better justice later this year.

Sorry for poor sound quality of op. 118. I’ll watch out for it next time.

Andy, thank you. You’ve been very encouraging (and thanks again for your part getting me interested in Bartok…..) I loved your piece and hopefully someday will be able to play it.

I really enjoyed listening to this recital. I’m so impressed at the talent here—knowing how difficult it was to perform a couple of Schumann’s pieces for children.

I certainly want to study more Schumann. I’m intrigued with some of his unconventional directions, and also all I learned (and will continue to learn) from the two pieces I practiced. Not my favorite composer, perhaps—but definitely worth revisiting.


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Sorry for this very late post. I just wanted to thank everyone for listening to my submissions and Outo, peterws, Pathbreaker, Jytte, carey, SwissMS, Andy Platt, noobpianist90, Morodiene, wimpiano for your specific comments on my pieces.

And thank you to everyone for sharing your music. I finally got a chance to listen to the whole recital and it was wonderful. Lots of Schumann now on my wish list for future playing! And thanks all who posted information about Schumann and his life and approach to the piano. He must have suffered terribly in his life with his depression and I only hope he found some reprieve in music. I think/hope he would be happy that we are all still so engaged with his music today.

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Originally Posted by Valencia
I think/hope he would be happy that we are all still so engaged with his music today.
I'm sure he would !! thumb


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