Started by Maciek, April 13, 2007, 03:44:13 AM
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Quote from: Manuel on April 23, 2007, 08:24:57 AMMy teacher suggested one I didn't like very much. So I'm reconsidering it.
Quote from: MrOsa on May 15, 2007, 05:24:40 AMThat's a turn I never expected this thread to take... 0:)
Quote from: aquariuswb on May 25, 2007, 10:51:48 AMBasketball
Quote from: lukeottevanger on June 06, 2007, 03:02:18 PMScore to all the op 32 PreludesAccording to IMSLP, where I found this score, the piece is public domain in the US and Canada...I've forgotten where you are, though. Whilst you're there, spend a few happy days downloading IMSLP's treasures. There are reams upon reams of them. I must have a couple of Gigs of scores from them by now....
Quote from: orbital on June 06, 2007, 09:25:05 PMThank you very much Luke. Does not look easy to me Starting from Bar 6 (page 21) when the right hand motif starts, the right hand should be kept open for the B to B octave throughout I suppose. But, from what I hear from the recordings (and I have slowed them down on the editor), they seem to be playing two notes following the GF#GF#: a B and a C in quick succession (in the second run two B's, the third B and C and on the fourth B &D). However, the sheet has only one note instead (C on the first, B on the second, C on the third...). This is of course much easier, but I wonder if you can create the same effect
Quote from: JCampbell on June 07, 2007, 01:05:55 AMI have never noticed this...but why would players add extra notes? <...>I just checked my Ashkenazy recording. He does it too! Interesting.
Quote from: JCampbell on June 07, 2007, 09:02:21 AMYea I was looking at that. But the way it was played, it appeared to be a third line (other than that of the left hand "ostinato"). Sounds like it anyways.
QuoteIt's one of my favorite preludes of his, mainly because of its deceptive simplicity.
Quote from: orbital on June 07, 2007, 09:55:36 AMI don't have the slightest hope of achieving that effect. All the pianists I've heard do that differently (Ashkenazy, Weissenberg, Sofronitsky, Sokolov and Rachmaninov himself). Exactly! Here is the best take I have. Sokolov from a 1981 recital:http://download.yousendit.com/93A07324239DF756
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