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Ian Pace
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« Reply #180 on: 23:33:50, 25-05-2007 » |
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Well, with the right type of person, you could always try Percy Grainger's Handel in the Strand (and no, I'm not going to explain that to those who don't get it   ). Also certain music from Mozart Die Entführung aus dem Serail, Figaro, Don Giovanni and Die Zauberflöte, for similar reasons.... Otherwise, past experience have suggested that Scriabin's First Symphony, the conclusion of The Ring and even Feldman's Palais de Mari can be quite successful.  |
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« Last Edit: 23:36:14, 25-05-2007 by Ian Pace »
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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'
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increpatio
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« Reply #181 on: 23:46:09, 25-05-2007 » |
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Naughty!
Hmmm yeah, Scriabin might work very well. Don't know if I could sit through it all, though, without making some kind of move. Maybe that's the point.
Was the ring incident preceeded by fifteen consecutive hours of cumulative failure?
For some reason, l'Union by Gottschalk can work to a good effect I feel; haven't used it, though.
Gotta love the sort of guy who tries it out with the opening of de Profundis on the first date.
Then there's the genre of the erotic duet; probably better suited to more advanced stages of intimacy..."Touch" by Berio is the main example I can think of at the moment.
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Ian Pace
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« Reply #182 on: 23:46:38, 25-05-2007 » |
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With regard to repeated notes (when they are under a slur and the second on the strong beat) the wrist usually goes up down (on the down beat). In those cases, I would advocate putting the wrist down on the weak beat and up on the strong one. But this brings to mind various passages from Brahms Ein Deutsches Requiem which colleague Mark Knoop and I are currently in the process of recording in the version with two pianos and timps - taking such an approach (and also separating the slurs) in the last movement of this raised a few eyebrows from the choir (though certainly met with the conductor's full approval)! |
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« Last Edit: 23:49:07, 25-05-2007 by Ian Pace »
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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'
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trained-pianist
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« Reply #183 on: 06:23:37, 26-05-2007 » |
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This was very useful discussion. I think I can pass a few hints on to those in need.
Nobody adviced me on Bowen. It is not suitable for first second or third dates I suppose. I am curious what people think of his 24 Preludes because I have it now and starting to explore it may be even later today if I have time.
Also Alkan op 63 will have to be explored. May be there are some erotic pieces there.
I was wrong with Alkan. There are some pieces that do not look very difficult. I looked a little at some of them and liked it very much. I did not have much time though to look at them because there are many young violinists and viola players preparing for their exam.
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autoharp
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« Reply #184 on: 07:06:14, 26-05-2007 » |
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tp - York Bowen op 102 preludes may have hold less possibilities for teaching purposes than Alkan's Esquisses (depending on the level of pupils of course) - a number of them (but by no means all) are pretty difficult. Great music, however, and extremely well written !
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trained-pianist
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« Reply #185 on: 07:13:26, 26-05-2007 » |
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Thanks, autoharp.
I listened to the beginning of Alkan CD (two first numbers). I loved it very much. My friend dropped by and heard a little. He could not stay and students were coming, but we are going to explore it together because he liked it so much.
I did not have a chance to look at Bowen. Next Tuesday my students exams (accompanying) are coming to an end. Now it is absolutely crazy with people phoning for rehearsals, then phoning back to change it etc. I can not wait for it to be over.
The more interesting piece I am playing with students is Ravel Pavane for a dead Princes. This piece is played by two very good viola players (not simultaneously of course).
This particular one is good for me too because I am not very good with Ravel.
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« Last Edit: 07:55:39, 26-05-2007 by trained-pianist »
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trained-pianist
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« Reply #186 on: 07:55:09, 26-05-2007 » |
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The most difficult piece by Ravel that I attempted to play was Jeux d’eau. I did not play it publically, just for myself.
I loved the piece very much. However, my friend who listened to me playing it said that this is not a very good piece, that it is difficult, but it is not held together.
Of coulrse my friend has an excuse of hearing not a good performance of the piece. But do memebers think this piece is good to play for the audience?
I thought it is very good piece and am very fond of it.
Also I think it could be played on a first few dates (not that I am dating or anything).
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increpatio
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« Reply #187 on: 13:06:40, 26-05-2007 » |
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re: the bowen preludes; I think the one that most appealed to me at first was the sixth one, because of the rather sexy harmonies and voice-leading in it. If I had to hit on someone with one, I'd try maybe 3, 6, 7, 16, or 24. Don't know about teaching though!
Also: I found vol. 2 of Celis's recordings to be much less immediately appealing than the first (though I liked the slow movement of the fifth sonata). Still good though!
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eruanto
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« Reply #188 on: 20:34:02, 26-05-2007 » |
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i have an idea of learning one (or more) of the Bax piano sonatas at some point. RCM doesn't have recordings of any of them, so any information / recommendations on them would be welcomed.
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BobbyZ
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« Reply #189 on: 21:17:05, 26-05-2007 » |
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i have an idea of learning one (or more) of the Bax piano sonatas at some point. RCM doesn't have recordings of any of them, so any information / recommendations on them would be welcomed.
Haven't heard them, so can't recommend directly but Naxos have a series of Bax piano music disks in progress, including the sonatas. Pianist is Ashley Wass and they have had good reviews. |
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Dreams, schemes and themes
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eruanto
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« Reply #190 on: 12:24:06, 27-05-2007 » |
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ooo thanks Bobby. i'll get filling in CD request forms, then.  |
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autoharp
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« Reply #191 on: 12:45:57, 27-05-2007 » |
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i have an idea of learning one (or more) of the Bax piano sonatas at some point. RCM doesn't have recordings of any of them, so any information / recommendations on them would be welcomed.
Eric Parkin (Chandos) is reckoned to be the guv'nor on that sort of repertoire (I have 3 + 4). I also have John McCabe on no.2 + an unnumbered sonata which is the first version of his first symphony. Very impressive ! It's on Continuum (CCD 1045). Do you know the classical Music Exchange on the north side of NottingHill Gate ? Try there first. You'll save pounds ! |
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eruanto
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« Reply #192 on: 12:49:14, 27-05-2007 » |
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Eric Parkin seems to like the English repertoire! He's done much of John Ireland's stuff as well (i have fascination with his music).
I've heard of the exchange shop, but never found the time to go there, unfortunately. ah well, exams soon over (but not near enough), so maybe then.
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autoharp
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« Reply #193 on: 12:52:49, 27-05-2007 » |
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I've heard very little Ireland. What I have heard hasn't motivated me to explore further. Any solo piano recommendations ?
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eruanto
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« Reply #194 on: 13:03:22, 27-05-2007 » |
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o there are lots of good things!
i'm learning the 3 London Pieces at the moment. they're hard to describe. a kind of mixture of the "pastoral english tradition" and Impressionism (there's certainly Debussy in much of his music).
very few of his pieces are substantial, though. There are so many miniatures to take your pick from. But there are the sonata (and concerto) neither of which i've heard but i'm sure are good.
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