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Thoughts and Updates on Repertoire | |||||||||||
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Saturday, September 06, 2025: Roll call for new recordings / videos: Rachmaninoff, Prelude in G Minor Op. 23 No. 5 Chopin, Grand Valse Op. 42 and "Minute" Waltz Other - to be determined The Prelude in G minor - I'm looking forward to this one. It might take awhile but progressing. It's chord-heavy, but the steady, catchy beats or rhythm is matches the intensity of the chords well. The flow has to be steady and even. If you can't keep up with the pace or if you play this choppy or uneven, don't tackle it. Yet. Which I is why I put if off as my hands needed more conditioning. It flows into a more calm, melancholic atmosphere or melody - a welcome reprieve from the intensity. My essential or favorites of the Goldber variations are complete - they are in the key of G, so coincidentally - the variations mainly begin on a G and end on a - wait for it - G. Haha.
Saturday, August 23, 2025: | The first variation is not as straight-forward as most first pieces in a series are. Var. 1 is a bit more tricky than some cross-over pieces in fact, it's only true if you don't have a large reach or hands (due to the tight phrasing and large distances in the pacing). For me, it's taking more practicing to get this down. But it has to be included, since it is the first piece and represents a journey's beginning of life or a new adventure or outlook in life. Only to have life either wear and tear you down, as well as bring a wealth or plethora of excitement, joy and happiness. For me, Var. 26 is the climax despite it being near the end. I think it encompasses all kinds of emotions, especially when it climaxes at the end - a turbulant, intense melody sort of. Ending on a G of all notes haha.
Thursday, August 14, 2025: | I think the "Appassionata" piano Sonata is Beethoven's most passionate or energetic Sonata arguably of course. I'm a sucka however, for the characteristic Sonata "Les adieux" to fit that bill or one of my favorites (or could be the favorite). The third movement Appassionata is something that is on my radar to learn, practice and possible - record. I began playing it again today - fortunately, not much rust. It's a stretch however. Long-term projects such as this, and Schubert's Wanderer is going to take time. Something that is becoming less of. There is usually something that brings me back to a composer after taking a break for awhile. Whether it's a famous pianist's throwback or anniversary of their album release, or a new movie about the composer (Beethoven in this case).
Monday, July 28, 2025: | I'm a sucka for tender, warm melodies. With that said, planning to re-doing Var. 11, 15, 21 and 25. Very brooding, soft and enigmatic. "Should you learn or play a piece that is popular? Only if it inspires you. Otherwise - find your own." - Me.
Thursday, July 24, 2025: | After what I call the "J.S. Bach Trifecta or favorites" (Prelude & Fugue No. 7 - done, Sinfonia No. 14 redo and Var. 13 redo + more - new web page), I'm aiming for Chopin's "Minute" Waltz (for memory) and Grand Valse Op. 42 (which I'm enjoying immensely learning and playing). Sometimes, going back to the fundamentals of good fingering, phrasing, emoting and just multi-voice melodies. You can always gain a new perspective for other pieces that come in the classical / romantic eras. Dare I say J.S. Bach is the standard for what comes in later periods or eras. So, roll call again: J.S. Bach redos Chopin Waltzes (minute and op.42) Schubert Wanderer Fantasy W.A. Mozart, Piano Concerto No. 20 Romanze creation / solo rendition
Friday, July 18, 2025: | So I decided to re-do with a brand, new recordings of J.S. Bach's tender beauties: Prelude & Fugue BWV 876, Var. 13 from the Goldbergs, and Sinfonia No. 14. While you can get away with your own fingering in a lot of pieces, J.S. Bach is particularly difficult because there is not much wiggle room for that. Good fingering is required to navigate tricky passages in both hands. Melodies or voices can flow either hand, one or the other, and sometimes - simultaneously. While the composer is not known for big, fat chords (it's the Baroque after all), the passages are quite intricate. A precursor for future compositions in eras to follow. Oh it's on, it's damn on.
Friday, July 11, 2025: | I haven't practiced or played J.S. Bach in awhile. Depending on the piece, I would have to re-learn them if I get too rusty. I don't plan on learning anything new, probably re-do an existing Prelude & Fugue for a less blurry video. The "Goldberg Variations" is pure beauty, as well as highly structured / logical. I think most of Bach's pieces are pure beauty - there isn't that much (if at all) emotions involved in them. Just pure inspiration and euphoria / ecstasy. The melodies flow like a metaphorical journey through life in contemplation and thought, tragedy and ecstasy. Whatever emotions there is, you certainly do not play these pieces as you would to a Beethoven piece. These pieces are more intricate than just mere "learning the notes". I think Lang Lang's 20+ years of studying these pieces can testify to that. At performance-level, you have to study them more (with deeper considerations) to elevate the performance itself. As a hobby, they are nice to play them now and then. With repeats, the run time is quite long (for all 30 vars).
Monday, June 23, 2025: | New Repertoire / recording roll call (brain-storming for the rest of the year and beyond): Mendelssohn, Album Leaf "Songs without words" Chopin, "Minute" Waltz (from memory) Chopin, Grand Valse Op. 42 (because this epitomizes a really catchy, unique waltz) To Zanarkand, Final Fantasy VII theme (if I can find the sheet music) Schubert, Wanderer Fantasy (first two movements at least - epitomizies my metaphorical journey through life) W.A. Mozart, Piano Concerto No. 20 excerpt / piano solo rendition (the ultimate, and final Mozart creation to record)
Friday, June 13, 2025: | Chopin's Grand Valse Op. 42 is progressing as quickly as "Flight of the Bumblebee" did. I don't have time to completely memorize this, nor any other piece. Unless it's a quickie. Sometimes, you can memorize a piece or something unintentionally. It's called, "visualizing" and "emoting". For a complete memorization, a pianist would have to study the notes a bit. As usual. I haven't practiced this in awhile, but I'm usually not rusty. As long as a piece is inspiring enough to savor it. I'm quirky in the sense the opposite effect applies - "I practice or play better if I don't practice or play too much or often" haha. But this shouldn't be relied on. I prefer to play or practice often, simply because I enjoy it now. K. 540 cometh first however.
Thursday, June 12, 2025: | K. 540 piece would make a nice follow-up to the frenetic "Flight of the Bumblebee". It's a solo piano piece not in Sonata form, but more like a second movement Adagio (gentle, slow). With repeats, it's the polar opposite of a fast piece like either Flight or even Chopin's Minute Waltz. It'll clock in quite long. Adagios are sometimes more difficult to express than fast ones. Which means, you have to pay that more attention to specific dynamic markings or even put some emphasis on expression. There are a lot areas or sections that are ripe for expressive interpretation in this one.
Sunday, June 08, 2025: | Mendelssohn - what makes the "Songs without words" stand out to me? 1. They aren't played or heard much. *Checking the check box. 2. They are still melodic - I'll put some emotion into it to add flavor / inspiration if anything (while the composer might have just shrugged off these pieces as just regular pieces). *checking the check box. "The Flight of the Bumblebee" is a piece I thought I'd never finish. If I can do it, so can anyone. My approach - you want to familiarize or know the melody first before the notes. Having the imagery of a bee buzzing around helps. It's a type of piece that places more importance on the pacing and fluidity in my opinion, as long as you've gotten the handle of the important lines / phrases, notes or chords. The bass line of chords helped with the pacing. Afterall - a bumblebee's flightpath is not linear. It can often be unpredictable and chaotic, buzzing around frenetically. The composer only writes the notes. I'll "sock it back to ya" haha. It's a done deal. I'll still probably play this on and off, it makes for a fine exercise or an etude (chromatics in the style of a bee's flightpath up the wazoo) to get the fingers fired or warmed up.
Tuesday, June 03, 2025: | Some vague ideas for the solo excerpt from Piano Concerto No. 20's second movement. Essentially - just play the piano parts, and hum / air conduct the orchestral parts (making for a quirky video without any real orchestra but just my terribad voice). I just pass muster in terms of tone deafness, and since the orchestral parts are in my head anyway (most of them if not all) - might as well hum the melodic line of any instrument. Or just play the piano parts straight through, with just brief pauses. Regardless, quirkiness is the new norm. Everyone has listened to, watched or heard concert after concert, over and over, since the beginning of time. So why not do something quirky, different, or new. This Concerto stands out. Along with 21, 23. They might be all exceptional. |