hi,

This is NOT the famous liebestraume no.3.

Liszt composed 3, and this is the second one.

Anyways, please listen and critique!

http://savefile.com/files/9531957 (new recording Nov 24, 2005)

I think you have a very good idea what you want to do musically, but your rhythm, at times, was difficult to follow. Now, the score I was looking at was significantly different, but with that aside, there were times I couldn't count the rhythm you were using (whether it was a 2 or 3 note rhythm, etc). I think if you solidified this piece rhythmically, everything you want to hear in it would come out much stronger.

I played the piece over with a metronome, and I found out that it was quite bad! My rhythm was quite off, and I found out that I estimated rather than counted the rests! I'll work on getting the rhythm down and record it again.

I know you weren't pleased with the first run, but I listened anyway since I'm quite familiar with the piece. It's too bad that the no.3 overshadows the no.2; it really is a nice piece. Not to mention the fact that it's not nearly as difficult as its two companions.

Anyway, not to pour salt in a wound, but as derulux said, the rhythm is your only major deal. The rests are VERY important in this piece. There's a part with a 2&1/2 beat rest that you skipped between the first and second section completely! Also something I noticed within the rhythm realm was your note values. Some of your eighth notes sounded like 16th or even 32nd notes. This was mainly in the first part after the 4 bar intro where the theme is first played. For example, that first c natural was way too fast. The theme on top of the sixteenth notes on around the third page should sing through just a tad more, and some slight freedom with the tempo also really does well for this part, as well as the whole piece. The bass in the three bars before the final cadence should also be a tad more emphasised. One more thing and I'll stop being a *****. There were a few harsh spots where you let your touch get a little heavy.

Good job though. a few details and you'll have another cool piece in the bag. I've been enjoying your recordings; keep it up.

Thanks for the helpful reply! I appreciate it. I dont' mind at all that you don't completely like my recording since I WANT criticism.

Anyways, I have been practicing it, but put it away for a few days since I was getting sick of it! lol Anyways, I will seek out the points you have suggested and fix them.

New Recording of this piece.

I practiced it with a metronome for a few days to fix the rhythm. Hope it's better now!

http://www.savefile.com/files/5972361

First, tempo comments, since you specifically asked for that (in the PM):

Measures 10-12 were rushed (compared to the tempo you want the piece to be, based on how you started).

Five measures before the fermata (at the end of the measure) right before the sempre marcato il canto armonioso, I would like to comment about the 16th pickup. This pickup was very nice...the pickup to the measure before it was rushed. (Around the 1:30 mark of the recording.)

Around the 2:30 mark, in the 7th measure of the poco animato (triplet rhythm, octaves and chords), I think you can bring out the top note of the triplet more. In the measure marked molto espr., there is an octave C quarter note triplet, followed by a B eighth note triplet. Then the melody is the F-e-D-c. If you have trouble doing it with one hand, do it with two hands...but I think, expressively, this may be beneficial to you. (Ok, so this wasn't a tempo comment...sue me. :p )

And don't be afraid to really slow down at the end...smorz. it!

It is so much better now than it was before. I think you know that for yourself, as much as I know it from listening. But, I hear some good stuff in your fingers, and think it can be even better. Listen to it yourself and get a feel for how 'rushed' some of the notes seem. Don't be afraid to let the tempo lag during expressive parts. Rubato works both ways, you know.

I think, now that you've got a handle on the tempo, if you can work on letting the tempo settle so you're not locked into it, and are free to let the expression roam in and around that tempo range, you'll be set. (Don't rush the 16th pickups, don't feel like you have to hit a note at a particular time.) Concentrate on how to get to the notes, not on the notes themselves. The notes aren't going anywhere, they'll be there when you get to them.

Again, a very good step forward from the last recording. Keep pressing...you've got it in you. *and the 'thumbs up' smiley, but I didn't use the full reply form*

Yes, I listened again as well after your PM and it is definately better rhythm wise. After reading derulux's comments I think the most important comment regarding your newest recording was:
Also as I believe derulux mentioned, right before the sempre marcato notice the ritenuto. this will help smooth out the transition between the material. Actually, I do this a bit at the end of every seperate section even though it isn't marked.

It also helps to keep in mind that this is a transcription of a song for voice and piano based on a poem by Gedicht von Uhland.
Here's the poem:

I was as dead
In loves fond blisses,
And in her arms
Lay buried quite:
I was awakened
By her kisses,
And in her eyes
Saw heaven's own light.

Remember, your in LOVE . maximum expression throughout .

Thank you so much for your helpful replies! I marked my music all over and probably will record it AGAIN!

John, I was looking for that poem. I had it once in a book but lost it. thanks for sharing it!

Anytime. Let me know when you do.

http://savefile.com/files/9531957

Hear any difference? (In quality of sound recording)