Playing the prelude in c# minor

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Playing the prelude in c# minor

Postby rachmaninoff fan » Thu Sep 22, 2005 9:45 pm

Hello,

I'm a 15 year old boy whoes plays the rachmaninoff prelude in c# minor I want to know if you know if the level who I play is high of low? can you help me?

greetings,

robert poortinga (dutch)

Sasha
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Joined: Mon Aug 29, 2005 7:47 pm
Location: USA

wow

Postby Sasha » Fri Sep 23, 2005 1:29 am

Hello Robert,

Wow, I would say that it's really high. :shock: Isn't it, everybody?
How do you control and express your feeling?
I have so much feeling for each piece, but it is difficult to express it in music. Now, you help me, Robert. How do you do it?

:D
Last edited by Sasha on Tue Oct 18, 2005 12:57 am, edited 1 time in total.

RACHBOY
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Re: Playing the prelude in c# minor

Postby RACHBOY » Sun Sep 25, 2005 12:18 am

Hi Robert,

just try it out, it's a wonderful piece written bij Rachmaninoff when he was only 18 years old!




rachmaninoff fan wrote:Hello,

I'm a 15 year old boy whoes plays the rachmaninoff prelude in c# minor I want to know if you know if the level who I play is high of low? can you help me?

greetings,

robert poortinga (dutch)

Sasha
Posts: 164
Joined: Mon Aug 29, 2005 7:47 pm
Location: USA

Oops!

Postby Sasha » Sun Sep 25, 2005 1:42 am

Hey guys,

Oops, I thought you already play that piece, Robert. Sorry for misunderstanding. :oops:
Yeah, try it! It is a beautiful piece. I wish I could play it.
I'm way too far behind to try something like that!
Good luck! :D

rachmaninoff fan

Postby rachmaninoff fan » Sun Sep 25, 2005 3:40 pm

I already play that peace after a year of teaching MYSELF it because my teachters wouldn't learn it me!

to sasha: I express my feelings in music by closing my eyes and play. I don't think under the music but simply dream away in the peace. You can try it by closing your eyes and play goodluck!

Guest

Postby Guest » Sat Oct 01, 2005 3:11 am

Definitely one of the easier songs, I didn't find any part of the piece that be difficult whatsoever and compared to his later works its as simple as walking

Djusz
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Re: wow

Postby Djusz » Sat Oct 01, 2005 10:26 pm

Sasha wrote:Hello Rober,

Wow, I would say that it's really high. :shock: Isn't it, everybody?
How do you control and express your feeling?
I have so much feeling for each piece, but it is difficult to express it in music. Now, you help me, Robert. How do you do it?

:D


Dear sacha, don't try to express your feelings through your music. The art of playing an instrument is not expressing your feelings in your music, it's arousing the listener's emotions, not your own.

Mayla
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Location: The Universe

Re: wow

Postby Mayla » Sun Oct 02, 2005 4:37 am

Djusz wrote:
Dear sacha, don't try to express your feelings through your music. The art of playing an instrument is not expressing your feelings in your music, it's arousing the listener's emotions, not your own.


Hey ! That's a really good point ! :shock:

But, I wonder if it's not mutual ?



Mayla

Sasha
Posts: 164
Joined: Mon Aug 29, 2005 7:47 pm
Location: USA

Wonderful!

Postby Sasha » Mon Oct 03, 2005 5:29 am

This is wonderful! Thank you, Djusz and Mayla for the advice :D And of course, Robert for yours! I don't have anybody around me whom I can talk about things like this other than my teachers...

Well, I am not trying to make the audience feel exactlly the way I feel about the piece. I do agree that it's up to them how they want to feel it.
It's not that I'm going to have a whole story that goes with the piece in my head. Just that when I paly a certain passage that I love, for example, what I'm feeling is undescribable. It's like the color you can describe.. but anyway, what I hear and what I feel don't always agree...I don't know how to explain it...Maybe I just need to practice more... :oops:
I just came back from a long trip too...
If you guys have more advice! Please! Then I may be able to ask more questions from there on this subject.
Thanks, you, three! :D

nity nite!

Mayla
Posts: 30
Joined: Sat Sep 10, 2005 5:24 pm
Location: The Universe

Re: Wonderful!

Postby Mayla » Mon Oct 03, 2005 7:31 pm

Sasha wrote:This is wonderful! Thank you, Djusz and Mayla for the advice :D And of course, Robert for yours! I don't have anybody around me whom I can talk about things like this other than my teachers...

Well, I am not trying to make the audience feel exactlly the way I feel about the piece. I do agree that it's up to them how they want to feel it.
It's not that I'm going to have a whole story that goes with the piece in my head. Just that when I paly a certain passage that I love, for example, what I'm feeling is undescribable. It's like the color you can describe.. but anyway, what I hear and what I feel don't always agree...I don't know how to explain it...Maybe I just need to practice more... :oops:
I just came back from a long trip too...
If you guys have more advice! Please! Then I may be able to ask more questions from there on this subject.
Thanks, you, three! :D

nity nite!




Well, okay. This is not really advice, but more that I am just passing some ideas along.

I took a vocal class for about 12 weeks just this last spring. One of the things that we talked about had to do with interpretation, and connecting with the audience. I actually never felt more connected with my music than when I thought of it this way, and it has definitely spilled over into my piano playing BIG TIME :P ... so I can't help to pass it along in light of this conversation. Even though it was talking about vocal stuff, I think it still very much applies to other instruments, including piano.

In vocal music, as we know, there is actual text. It has it's own story and what not, maybe from an opera and so on. But, at the same time, one wants to determine what is the the sub-text that we as individuals are making music about.

For example, in that class I sang the aria, "when I am laid in Earth" by Purcell from Dido and Aneis. I will use the first line of the recitative as an example of what I am talking about :


"Thy hand, Belinda, darkness shades me... in thy bossom, let me rest"


That line above is the actual text. But, my subtext might be something like :


"I am very alone and surrounded by darkness. I need a friend, please comfort me"

So, while I would sing the actual words of the composer's choosing, I am present with my sub-text and that's what I am singing about. I think it can be very similar with piano music. While we do not have text in the way we standardly think of it, we do have articulated sounds. At it's most fundamental aspect, it is no different than "words", which are merely articulated sounds. It just seems more difficult to connect with the "language".

So, while I don't think we need to have a story for every little note and so on, I do think we need to find a kind of subtext that we believe in and can be present with while we are playing. I think that we also need to let ourselves feel, at some point, the full gamut of what that subtext is about. Even if it means crying uncontrollably until we stop. Then, we get to a point where we have control over that emotion. We can be present with it and let it take us as performers exactly to the edge of it, without losing control of it, and that will cause the audience to spill over into it for us. They cry instead of us.

Okay. Maybe I should be embarrassed now :oops:



Mayla

Sasha
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Location: USA

Postby Sasha » Tue Oct 04, 2005 5:38 am

Hello Mayla,

Thank you so much for sharing your ideas of interpretation. :D
I think I understand what you mean by having the subtext.
I kind of got lost in this beautiful piece I've been working on.
One of my teachers told me to see the big phrase and see where you want to go or guide your listeners. I was thinking... uhmm. :?
Then the other teacher helped me to kind of sort out the piece with the adjectives. "Here is like a pain, trouble.... then here is like accepting it or giving in" and so forth. I started seeing the general story for the piece more and more, which helped me a lot to feel it more clearlyl.
Yes, I agree that we need to let ourselves feel. Whatever the listeners want to fell or picture is all up to them. I just want to communicate with the piano and make music together. I will keep in mind what you told me, and practice more!

NO! you shouldn't be embarrased at all! Thank you, Mayla :D for sharing your idea!!!

rachmaninoff fan1

Postby rachmaninoff fan1 » Mon Oct 17, 2005 8:09 pm

dear sasha,

If you listen and lookt to the movie shine you could heare from his teachter it isn't the way you feel it's about the harmony it's all on the paper;)

(I don't do that I listen to my hart) but it's a surgestion

Guest

Postby Guest » Fri Feb 03, 2006 8:22 pm

Everything (nearly) in a performance is worked out beforehand.

Thats the way Sergei Vasilievich did it himself.

Thats the only way.

Sasha
Posts: 164
Joined: Mon Aug 29, 2005 7:47 pm
Location: USA

Postby Sasha » Sun Feb 05, 2006 5:52 am

pianist wrote:Everything (nearly) in a performance is worked out beforehand.

Thats the way Sergei Vasilievich did it himself.

Thats the only way.


What does it mean, exactly? "beforehand"... Like the piece should be thought thru before the performance? or... help.

Thanks

Guest

Postby Guest » Mon Feb 06, 2006 5:18 am

of course the piece should be thought through before hand! It's not good to practice on stage. There's a difference between practicing and performing, as you might well know.

When you work by yourself, you are working on everything to convey your conception of the music. The performance is the end product. Sometimes more, sometimes less successful.


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