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The Radio 3 Boards > The Radio 3 Boards > Radio 3 Popular Programming > Afternoon on Three > Piano playing style
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Author Topic: Piano playing style  (Read 1425 times)
Ian Pace
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« Reply #30 on: 21:52:23, 23-05-2007 »
Quote from: increpatio on 16:48:13, 23-05-2007
Quote from: Ian Pace on 23:04:11, 22-05-2007
Sure - Busoni's ideas on Bach were very much filtered through late romantic ideals, though. Interesting in their own right, but I would say extremely different from Bach's conceptions. Of course it would be possible to foreground one voice dynamically on a fugue written for the harpsichord.

By possible, you mean impossible?  (oh; unless you talk of registers)

Yes, meant impossible!
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
Ian Pace
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« Reply #31 on: 21:56:06, 23-05-2007 »
Quote from: trained-pianist on 20:24:10, 23-05-2007
Back to Busoni, can anybody tell suggest any pieces by Busoni that a mediocre musician like me could play?
I know Busoni made transcription of Bach's organ pieces. I think they are above me. In any case I can not look at them first because they are not available here. I don't want to order if I am not going to play them.

Try Busoni's 1st, 3rd, 4th and 5th Sonatinas, various of the Elegies, the Nuit de Noel, the Fantasy after J.S. Bach. There are countless early pieces of all sorts of different levels of difficulties, but on the whole I'd say they aren't so interesting. Of the Bach transcriptions, I'm sure you'd find many of the Chorale Preludes are quite approachable. There is a Dover volume with all of the Bach transcriptions in, which you can find here. Also this volume is well worth having.

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I am considering to put them on my wish list together with Alkan. I wish I could see Godowsky arrangements too. Someone here told me that he arranged Schubert Musical moments in F minor really well.

Yes, very worth getting to know (rather more successful than the Schubert Song Transcriptions, I would say).

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The problem is that I need too much and I can not buy everything at once. I have to rationalize it.
About desyncronisation, I thought that pianists play the left before the right hand more often. Now I can see that I was wrong.

It depends when (and to some extent where). Certainly they once did, and there may come a time when many do again.
« Last Edit: 22:19:36, 23-05-2007 by Ian Pace » Logged
'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
trained-pianist
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« Reply #32 on: 22:52:45, 23-05-2007 »
Ian, Thank you very much. I copied names of the pieces in my diary book, so that I will not lose it.

I still have to look at the two sites that you posted.

I am overwhelmed some times and don't know what to do first, second etc. I am just so much behind.
I am making up a list and I hope to order before summer. This way I can get myself ready.
If I am lucky and more advanced students come (senior certificate students) then I can get to know more pieces faster. I have to teach, accompany, plus I even edited some music, also edited children's book with Irish songs (graded).
And I do have a house to take care of. I can not let it go.

I wish composers wrote more for childen. Associated board includes many good contemporary pieces in their books. I think RIA doesn't make very good choices often.

Children have to like to play pieces. It is very difficult if a child doesn't want to play the piece.

I have to say that often children respond to contemporary music very well.

Associated board has a good idea to make list A, B, C (Classical, Romantic, Contemporary) pieces and students have to play one piece from each list.
RIA is doing it later. As a result children often opt for similar pieces. I wish I could point it out to RIA, but I don't know anybody.

Ian, thank you again. I already passed some of the contemporary  pieces you suggested to a student. I will do more. This particular student is interested in contemporary music and loves to play it. You are not only helping me, you are helping many people here.
Most of my students are not going to be professional pianists, but many love music passionately.
This particular student turns pages all the time now (I used to do it).
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Ian Pace
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« Reply #33 on: 23:10:59, 23-05-2007 »
I see you can download some Busoni scores for free here. Do have a look in particular at An die Jugend, the Fantasia super Carmen and the transcription of the Bach D-minor Chaconne (and if you ever get chance, do try and hear Busoni's piano roll of it - he makes extremely careful and judicious use of the middle pedal to sustain particular sonorities, rather than bathing it in loads of pedal, grandioso style, as many others do).
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
Chafing Dish
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« Reply #34 on: 23:20:30, 23-05-2007 »
Quote from: trained-pianist on 20:24:10, 23-05-2007
Back to Busoni, can anybody tell suggest any pieces by Busoni that a mediocre musician like me could play?
If you are interested in Busoni, you can also look at his four-hand and two-piano music, some of which is quite manageable. I am thinking in particular of his Variations on O Du Lieber Augustin.
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trained-pianist
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« Reply #35 on: 23:57:33, 23-05-2007 »
I am not interested in Busoni in particular. I heard his violin sonata once. I thought it was a good piece, but for some reason our Lady did not like it. Some people said it was too long.
I am just interested in broadening my knowledge of repertoire.
Chafing Dish, Thank you for your suggestion.
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Daniel
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« Reply #36 on: 01:13:06, 24-05-2007 »
Quote from: trained-pianist on 19:57:16, 21-05-2007
I did listen to Shiff lectures on Beethoven, but unfortunately I did not have time to listen to all lectures. I wonder in what sonata did he parodied the style ... [of playing RH before LH]. 

This surely must be the opening movt of Op 31 no.1 where the RH is constantly coming in just before the strong beat played by the LH.
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trained-pianist
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« Reply #37 on: 09:27:17, 26-05-2007 »
I understand now why Brahms did not recomend this method of delayed bass or delayed melody to some people. I thinkl he would not recomend it fot me. I experimented lately and I sure have a tendensy (strong tendensy) to over do it.
In Schumann Toccata there are examples of written late bass. I am only playing an exposition of the piece at the moment and I could see a few examples.
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