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Monday, May 22, 2023 Inspired by Nobuyuki Tsujii's new performances of the Rach 2, I might work on Rachmaninoff again. The Moment Musical No. 1 piece is a favorite (although I don't know many solo pieces, at least it's not a Prelude haha). It certainly needs more polishing and re-fining. But the melody is very brooding / Nocturne or Fantasy-like, and other-worldly.
Saturday, May 06, 2023 | Prokofiev is another very technically difficult composer. Along with Bartok, I think on par or more difficult than either Rachmaninoff and Tchaikovsky. Slavic composers are fine, and are considered "a must" or the benchmark for any technically-gifted pianist or performer. I've seen some sheet music from Prokofiev and Bartok - it's quite difficult. If the melody is inspiring, that's all that matters to me. Otherwise - it isn't worth it to me. He doesn't have a lot of piano solo pieces however. I'm on the look out for any authentic Asian composers. In the modern era, Joe Hisaishi is a popular one. I'm pretty sure he was paid quite well to have to collaborate. For me - the Budokan concert years ago is the benchmark and the Go-To concert for me in terms of his Studio Ghibli music. Tan Dun is another one - although he does not have an expansive repertoire of pieces.
Tuesday, May 02, 2023 | I found an old performance from Nobuyuki Tsujii when he was just a kid at Steinway Hall. Before he won the Van Cliburn competition that catapulted his career. I enjoy finding performances like these - including Lang Lang as a kid (however rare they are, usually grainy recordings from audience members or other). One of his pieces was Mendelssohn's Spinning-Song (similar speed to Lang Lang). My rendition is a bit slower, mostly because my fingers can't play that fast. Yet. But the piece is at a Presto tempo, so it's meant to be that fast. Lang Lang performed all of Chopin Etudes (both Op. 10 and 25 I think). Unfortunately, I don't think there is a recording anywhere for that.
Tuesday, April 25, 2023 | Recently, I've been practicing or playing pieces that I was not ready for previously. Sometimes, all it takes is more conditioning and stamina. Once again - it's a mindset to be motivated and inspired to learn anything, and a mindset or discipline to practice effectively and regularly. Again, for me it depends on the piece. There'll be a few that I'll never have interest in. But then again - I've said that before for a lot of pieces that all of a sudden I decided to finish. Liszt's "Hungarian Rhapsody No. 6". A very lively and fun piece. The Rhapsodies are almost like technical studies in playing chords fast. In an arpeggio. And fast. No. 6 is no exception, and it works - amidst the flowing themes and melodies. This one, and No. 2 are seemingly divided into acts or sections as in a play. I just practiced No. 6 again - but this time, more comfortably and at the proper tempo. Of course - the notes need more polishing. Certainly there are chords that are completely out of my reach.
Saturday, April 22, 2023 | K. 576 - The Final Sonata. Sounds like another horror movie finale haha. This'll be sort of my "closure" for these Piano Sonatas - the ones that inspire me the most. It is like the Quodlibet (Var. 30) of the "Goldberg Variations" in terms of finding closure or coming full circle. Finding new pieces hasn't been easy - there just aren't any pieces that I'm interested in learning. But I'm sure there are some hidden gems that are still out there. Technically-difficult pieces that exist just for the sake of being technical or difficult is all fine and dandy. But my priority is melody - even if the sheet music has only simple lines or looks elementary.
Monday, April 17, 2023 | This is why I call K. 309, K. 310 and K. 311 the "Trifecta of Trickiness". To me, they are arguably the most difficult or the trickiest of the Piano Sonatas. The K. 311 third movement has a passage that could be more tricky than K. 310. But I'm not going to get to that anytime soon. I think J.S. Bach would've been proud of these pieces haha. K. 310 first movement - it is very taxing on the left hand (I was stuck on it for quite some time - another piece that I'd have to play or practice often to avoid re-acclimating to it). But the right as well - there's a nice balance between both hands, almost conversing with each other. After this, K. 576 wasn't as tough to practice through (long ago, I thought this might have been the toughest). Let's get real, all the Sonatas have a certain degree of difficulty.
Sunday, April 09, 2023 | Current practice repertoire: J. Haydn, Gypsy Rondo To Zanarkand, Final Fantasy X J. Hisaishi, Always With Me "Spirited Away" W. A. Mozart, K. 310 I. Allegro maestoso (First Movement)
Friday, March 24, 2023 | I have not practiced "The Flight Of The Bumblebee" much. For me - maneuvering the chromatic, bee-movement like melody or sound was tricky. Since my 4th and 5th (the pinkie) fingers were weak. It's doable now. From the initial, punctuated first note to the last: it is literally a bee's flight or movement "buzzing" around. I have the "buzzing" sound in my head when practicing. You can even hum that if one is so inclined. A bee's movement is not linear - it flies all around, and in odd circles or shapes. Thus - the piece can be arranged or improvised differently if one is so inclined. As long as there is structure or coherency of course. K. 310 Presto might be next.
Wednesday, March 22, 2023 | Lang Lang Foundation's Young Scholars - I started to catch up on watching some of these young pianist sensations. They all appear composed. Confident. And very expressive. The pieces I'm familiar with - pretty darn precise too. However - there are more new pieces I'm not famliar with than I recognize. That's the advantage of foundational training. The student can be exposed to a vast array of pieces and composers, some that are not known at all or not played often. Realistically, any piece can be performed in a recital. And of course - institutional insights and teachings from years of musical experience from professors and performers.
Tuesday, March 21, 2023 | Schubert Impromptu No. 4 - this was tiring. It would have been easier to just put some effort in memorizing the piece (I did before, but it wasn't a complete or accurate memorization). The page-turning was annoying, as I had the sheet music or Impromptu book that isn't as condensed as other sheet music (so more pages). Memorizing it would have been easier on the hands / fingers as well. I guess it's also a concentration issue. Anyway - finally a take I was a bit more content with. Decent but not completely happy. Nobuyuki Tsujii made it sound and look easy however. Lang Lang and the VGP can do the same. Among the Imprompu's, No. 4 is my least favorite. However - it does have a very catchy melody, and I did get swept away by the second section or theme, which climaxed as if you were climbing a mountain and finally made it to the top. Nonetheless, the Imprompus have been re-done and complete. Again - Schubert is an underrated composer, and I highly recommend learning and playing his pieces. It's time to get back to Mendelssohn's Rondo Capprioso and Mozart's K. 310 Presto. With some other pieces on the side.
Thursday, March 09, 2023 | So I decided to work on Schubert's Fantasy Op. 15 "Wanderer". Epic pieces like this (including the Chopin Fantasie-Polonaise) I was not ready for. I'm not sure if this'll be ready for upload anytime soon. More work needs to be done for sure. When tackling pieces like this - make sure to learn them slowly at first. We can all get carried away by the melody, and tend to rush through the piece (I had a problem with this for awhile). Make sure that both hands are playing at the same or similar speed - otherwise, your strong hand is going to go faster or quicker than the other, and your other hand is not going to play smoothly or cleanly. This is why conditioning your hands is important, so that both hands can play their respective lines evenly and cleanly. And in harmony with each other. This has been another Joyoung's Tip Of The Day haha.
Sunday, March 05, 2023 | Schubert's Fantasy Op. 15 "wanderer" - I always said that this could be the most difficult piece in C Major. C Major key is the most basic key, and probably the easiest to play in (unless a piece is filled with accidentals and leaps). However, this Fantasy piece takes the cake and devours it haha. Although I still feel Mendelssohn's Rondo Capprioso might be my ultimate fantasy-type piece, the Schubert Fantasy Op. 15 is epic in of itself (divided into four sections - like a journey of self-discovery so to speak). Chopin's Fantasie-Polonaise is another one - a challenge for sure. Happy 70th to Lang Guoren! They say that time heals all wounds / scars (except for me perhaps - I've just concealed / buried them. Fortunately for me, I'm more at peace now - I guess that counts haha), but it appears Lang Lang and his father are on good terms or reconciled. I definitely recommend their epic performances together when Lang Lang first performed at Carnegie Hall I think (an epic performance which included Liszt's transcriptions, including "Reminiscence de Don Juan" - based on a Mozart opera).
Sunday, February 26, 2023 | The Schubert Impromptu No. 2 has one of the most heartfelt melodic phrases ever - for me. I could keep playing it over and over (there's a fine line however, how gentle or how tender it should be played. Or even placing some emphasis). It's a piece that feels like an exercise in Chromaticism. It's punctuated by some intense phrasing in the second part / melody. No. 1 is just dynamic and different - feels like an exercise in sustaining Chord repetition. But with beautiful melodies. Sort of like a Chopin Prelude or something. The "Trifecta Of "Trickiness" of Piano Sonatas - K. 309, K. 310 and K. 311. I only plan on K. 310 Presto as the finale. That needs more time - as my pinkie is just not there yet on these leaps. Such is life for an average-size reach such as mine.
Saturday, February 25, 2023 | I practiced all four Schubert Impromptus just now, and I felt much more comfortable. So all four is possible. But for now - only 1 and 2.
Friday, February 24, 2023 | I plan to return to Schubert at some point - the Impromptus 1 and 2 (Op. 90). I had No. 2 memorized, but need to re-learn it. Still - it's this piece that sometimes I can just automatically start playing on a keyboard or piano right away. But this time - at a more steady, proper tempo. With a bit more dynamics. I think Schubert is an underrated composer - not as enticing as others. His melodies are on the contrary - they are quite enticing. Perhaps it's because his repertoire is not as vast as other composers or known. I've had practically the most fun with practicing or playing Mendelssohn's Rondo Cappricioso. On paper, it might look and sound ordinary. But if you get into a piece or approach it differently, it can make a world of difference. I also had fun with W.A. Mozart's K. 284 and K. 332 pieces. You can literally move your body or dance to almost.
Wednesday, February 22, 2023 | I'm working on both Liszt Consolation No. 5 and Chopin Etude Op.10 No. 6. The Liszt Consolation pieces proves that the composer is not all technically loud or chord heavy. Some Liszt pieces can be soft, gentle and brooding. Despite it, there are technical challenges of course. It helps to have a wide reach at least (unfortunately, I only have average size hands / reach).
Wednesday, February 15, 2023 | Liszt Consolations should evoke comforting or soothing melodies (in the midst of trauma or other unfortunate experiences in a person's life). I think No. 2 is the most beautiful. No. 3 as well, but it is over-played or everyone seems to play it (so not inclined at all). The main melodic line should flow smoothly and at tempo. With other subtle moments, changing dynamics or tempo at your discretion (tenderly, gently or with / without subtle hesitations to evoke moments). Which is why I wanted to re-record this. It's all a learning process. Re-imagining or re-interpreting Disney songs / pieces classically, or via classical style in terms of specific composers - I'm all for it. It is unique and different, something that is lacking in today's society. However - don't try too hard. The more you try to be different or unique, the more you stay the same.
Saturday, February 11, 2023 | Initially, there were no intentions to re-record pieces. But when you just feel inspired or find new revelations from listening to other performances or recordings, it's a learning process for me and I have to. The next set would have to be Liszt pieces (if there is time): some Consolations, Romance. And the Schubert Impromptus. Also - recording the same piece in a different environment, house setting, or elsewhere is also an option (as an addition, not a replacement).
Friday, February 10, 2023 | I might re-record the Liszt Consolation No. 2. As well as considering the Nocturne "Liebestraum". It's a well-known piece (and often played or performed it seems), but the Nocturne-like melody and atmosphere cannot be avoided. With the proper pacing, dynamics and a unique / personal approach, a piece can become more enticing than initially. In the meantime, I recommend Lang Lang and recent Nobuyuki Tsujii for performances of various Liszt pieces (as well as the VGP).
Tuesday, February 07, 2023 | I was stuck on K. 311 for the longest time. There is one particular flowing, melodic line (an upward arpeggio - like trying to reach a mountain peak) that my right hand could not navigate smoothly. Of course - I had to look at it from a different approach. I was going at it too quickly (almost felt if I were rushing it). You still want to play this smoothly from one melodic theme to another. The first movement is a dynamic, upbeat piece - like 2 playful voices playing off one another in a fun-filled banter or conversation. The third movement is quite the doozy. That has by far, one of the most intricate passages I've seen or heard (both hands going off-tangent, making it difficult to play them together smoothly). And my fingers have not yet adapted to them at tempo yet. It's probably not in the works for now. The next uploads might either be K. 310 Presto or Chopin's Etude Op. 10 No. 6.
Saturday, February 04, 2023 | I enjoy the Chopin Waltzes and Nocturnes, among the repertoire or pieces. Never really got into Polonaises, Scherzi or Ballades. Etudes are sort of, in the middle. It can go either way - only pieces that evoke emotions or are expressive. Speaking of Etudes, the Liszt Etude No. 1 "Lamento". This piece I've been practicing on and off - however, it evokes a bit too much emotion for me to continue. I probably need to play or practice more happy, upbeat pieces. But that's been my interpretation. Others can just learn and play these pieces otherwise - depending on how they intepret or what emotions are there. I haven't played or practiced enough Chopin. I always believed that Chopin has the most eclectic types of piano pieces (as categorized I guess). I also forgot about Mazurkas, Preludes, Impromptus, Sonatas.
Friday, February 03, 2023 | I think I have some idea of how I want to approach Chopin Etude No. 6. Again - these types of pieces are more difficult to express than pieces that are more technically challenging in nature. J.S. Bach's Variation 25 come to mind - although it's been recorded, it's not a piece I would be inclined to perform (if at all, or play often at all) without more studying or practice. But in the meantime - just an interpretation of mine, in a very brooding / mysterious aura. Op. 10 No. 5 and Op. 25 No. 2 are the other ones. Of course - the famous "black key" etude is a fun and bouncy one. Pattern recognition is important, which would make it a bit easier in handling playing on all black keys.
Thursday, February 02, 2023 | While it is important to have a diverse repertoire and to be able to learn / play any piece (especially if you are a career pianist or playing as a profession), it is also important to just focus on pieces that are the most inspiring or speaks to the pianist the most. For me - I enjoy pieces that might tell a story (depending on an interpretation), have multiple voices, or enfolds like a conversation. Such is Music. It can also be abstract and improvised. There is beauty in almost any type of music. You just have to have an open mind / heart. Well - there is a fine line I guess. There might be "music" that is more close to "noise pollution" haha. I'm saving Mendelssohn's "Rondo Cappricioso" as a future upload. More re-fining / re-polishing it, to make sure it sounds the way I want.
Monday, January 30, 2023 | Some might consider Chopin's Etudes the benchmark for a technically gifted pianist (other than Liszt). The Etudes are not easy - they are definitely to be learned slowly at first, and working your way up to tempo. Even if the melody is familiar or if you can read notes well, getting your hands / fingers to hit the notes requires practice for sure. Lots of practice. For sure - if you can play the Etudes at tempo, you can play almost anything. Just as if you can memorize or play J.S. Bach well, you can memorize / play anything. I might practice a few now and then, but no plans on focusing on them anytime soon. There are a few Etudes that can be expressively played as a standalone piece (tristesse, ocean, revolutionary, winter wind, aeolian harp, butterfly). Perhaps I am more prepared now to practice them, with more strengthening / conditioning of my fingers or hands. I believe Nobuyuki Tsujii was warming up with Etude No. 2 before his Carnegie Hall recital.
Friday, January 27, 2023 | I'm preparing Mendelssohn's Rondo Capprioso to sound the way I want it to (without overdoing it of course). Thus, not going to record / upload this immediately. To me, this is a fantasy piece staged in different acts (intro / overture, fantasy / dream sequences, tragic / melancholy moments, conclusion). In the meantime, back to the happy, upbeat piece: K. 311 Allegro con spirito. These types of pieces I can play over and over. Over and over. Hisaish's "Friends" piano solo composition / piece might have that nostalgic intended meaning to it, but certainly not to me. I played it as a brooding, melancholy / tragic piece. Thus - I would have titled it differently to: "No more memories" - as if a new life began, the old / past life gone forever. With a tinge of melancholy reflection one last time. I also recommend Hisaishi's "Departures" and 'White' Knight (to me - a sarcastic / hypocritical look at the realities of the situation - where racial stereotyping is involved). Outside of music, our AAPI movement continues to grow loud and proud. Of course - Hisaishi's intention is vastly different from my outlook. The beauty of music is of course, interpretation. Composers allow for it.
Monday, January 16, 2023 | I'll usually re-visit or play / practice again the "Goldberg Variations" on Sundays. It's been awhile, but fortunately - I wasn't too rusty. The beauty of playing the Big 3 of J.S. Bach, W.A. Mozart, and L.v. Beethoven - it all helps each other out in playing the other well. Here's the important point - you have to be able to concentrate well, and be able to pay attention to details (other than the technical aspects of reading notes). For me - once I'm familiar with a melody or if it hits me in the feels or is inspiring, learning the notes or piece comes naturally (you tend not to over-think it). I think K. 311 first movement is the next upload. K. 310 Presto might take more time, but gettin' there.
Friday, January 06, 2023 | I might record K. 310 Presto and K. 311 Allegro con spirito, but that would be it. For sure - I'll finish K. 309. This third movement is definitely a fun one - happy and perky. There might be a tinge of sarcasm in it, hiding a bit of tumultuous emotions underneath the happiness / giddiness. However - it can be interpreted in several ways. Otherwise - it's just a light and bouncy piece that elicits a happy, light mood. K. 310 Presto (third movement) - this is a tough one. It demands a strong pinkie finger (certainly strong / flexible fingering in general), because of the many leaps in the bass or left hand (as well as the right). The melody is one of turmoil or tumult in my opinion, but there's always beauty in every melody. To each their own.
Wednesday, December 28, 2022 | K. 309 was recorded on Christmas Day. The first movement is an energetic, lively piece - "allegro con spirito" tempo. It's part of what I call the "trifecta" of tricky / difficult Piano Sonatas (with K. 310 and K. 311) - probably the most difficult ones among the composer's Sonatas. But the bouncy energy was too enticing and inspiring. Especially for a festive holiday - a festive piece for the festive holiday. There is beauty among tricky phrases or passages. A pianist just has to execute it well - on top of their interpretation. I found the grace notes as tricky as J.S. Bach's grace notes / ornaments - especially in the third movement (a doozy as well - but it has no repeats, and flows all the way to the end like story). I hope to get to the second movement soon.
Saturday, December 24, 2022 | K.309 / K. 310 / K. 311 - I call them the "Trifecta or Trilogy Of Trickiness" haha. Arguably the most difficult of the Piano Sonatas - I'd rank K. 498a up there as well. I didn't realize how fun K. 309 was (when played at tempo - and adding a bit of your own flavors). The first movement at least - should be the final recording for this year (the second one if I have time but not likely). The third movement is a rarity - the melody progresses all the way through without any repeats. I returned to Beethoven's Piano Sonata No. 26. I have yet to finish it - the second and third movements were a doozy and required more time. Also - one of the more emotionally impactful pieces. Needed to take a break.
Saturday, December 17, 2022 | K. 309 is also a lesser known work. Tricky passages can be navigated if: a. you have the finger flexibility / strength b. can sight read competently at the very least c. let the melody flow rather than thinking too much. Everything takes practice. Nothing comes easy or handed to you. I have an affinity for lesser-known works which are not heard or played often or at all. This might be the final option - as long as I keep finding these pieces, I guess I shouldn't say that this is it or final.
Tuesday, December 13, 2022 | I've been enjoying the lesser-known works, such as K. 498, K. 533, K. 540 and K. 547. K.547 is only two movements - but the first movement is sort of like two movements into one. Although one movement is enough, I'm considering the Rondo Allegretto. It wouldn't be complete without it. It's a brief movement with no repeats - sounds like a Variation off of K. 545's third movement. With the dynamic pacing from the first, I'll probably approach this more passively but still lyrically.
Sunday, November 20, 2022 | The K. 540 Adagio piano piece is a contemplative, beautiful melody - the final resolution or the final farewell / goodbye. More contemplative and reflective if anything. It's my opinion that the K. 400 series has some of the more darker pieces that encompasses the atmosphere of both the Classical and Romantic periods. Adagio pieces can be deceiving - they are played slow, but it's the nature of the piece as well as the notes involved. Obviously, you want to always be aware and differentiate between 8th, 16th and 32nd note phrasing / speed (32nd quicker than 16th, 16th quicker than 8th, etc). But however - playing them at Adagio or Andante tempo. It took awhile for me to actually pay attention. Joyoung's Tip Of The Day: Slow down the learning process in the beginning - it helps with awareness or attention to details. As I always believe, it behooves to learn / familiarize with the melody first.
Monday, November 14, 2022 | I decided on planning to re-record / upload the K. 540 Adagio piano solo piece. It's like the calm after the turmoil / strife - final resolution or at peace (with what, the frenetic / exciting pacing and a bit dark atmosphere from the K. 498 and the No. 20 Piano Concerto). My first attempt (upload) awhile ago - was a bit slow and uneven. It's time to re-awaken. Yesterday's tribute practice to Zhu Ya Fen (although I don't know her personally, Lang Lang conveyed the type of person Zhu was through his autobiography as if everyone can embrace her) - included Chopin's Ballade in G-Minor and some soft pieces (including K. 540). The last section of the Ballade (Presto agitato), might be as difficult as most of Liszt's Hungarian Rhapsody No. 2. Only if I had bigger hands, but still doable.
Sunday, November 13, 2022 | It only occurred to me that the recurring theme / melody from the K. 498 Rondo sounds similar to the theme song for "Popeye The Sailor Man". Of course - "Popeye" would have borrowed that from Mozart - since these classical composers came way before any modern era composers / compositions. Classical music is that influential to modern day music. Just whisper, "Salieri!" haha.
Thursday, November 10, 2022 | K. 498a turned out to be a hidden gem amongst Piano Sonatas or keyboard literature. The "Goldberg Varations" as well. I've practiced the piece on and off, but kept on being persistent for two years. I almost gave up or took a lengthy break - it is quite the tricky piece. Mozart is not known to have big, fat chords or tons or embellishments. But pieces do have very tricky phrasing in both hands all over. There are hidden gems or pieces that are not as known or heard. K. 498a to me, felt like a Concerto movement. Multiple melodies, multiple key changes, multiple atmosphere / ambiance. In the end - it was fun and bouncy. It unfolded like a story or journey. I'd consider the piece as one of the true "anti-Salieri" pieces haha. If anyone watched "Amadeus", they would know Salieri was representative or symbolic of all that was average or mediocre. And then, a piece like K. 498 comes along filled with vibrancy, heavenly melodies / rhythms, unheard of harmonies / key changes, etc. - that turn the ordinary into extraordinary. It's a type of piece that I'd still make errors in - no matter how much I play or practice. But as long as the work is put in, and the flow is there with seamless transitions. It's all up to you in a way in terms of interpretation. Am I done with Sonatas? For now, it is done - I've uploaded all my favorites (My Top Three - K. 284, K.332 and this one - K. 498a). This is the final roll call haha. Recording re-dos might be considered if or once we move to a new location or house (depending on acoustics and background surroundings). It would be not to replace, but in conjuction. Perhaps non-Sonata pieces.
Sunday, November 06, 2022 | That's a very practical, salient advice in playing fast, repeating chords (specifically octaves). Not robotically or stiffly, but more movement with your hands to protect your wrists. This is something to work on - I haven't played enough pieces that have fast, moving chords. Learning tips or tricks from experienced or well-known performers such as the VGP or Lang Lang (even watching Nobuyuki Tsujii) is very helpful. That's another way of learning - by watching. Another tutorial service pointer. But that's something almost everyone is doing anyway.
Saturday, November 05, 2022 | Practicing Liszt's Hungarian Rhapsody No. 2 - take it slowly at first. The melody might be fun or bouncy not to, but it'll help in the long run. In particular, if you want to play the grace notes / ornaments in the first act / introduction to be "in sync" for both hands. This is just for fun, no plans on recording. Liszt pieces are technically demanding, and quite long. In life - "never" might be ok or more realistic. But in music - never say never haha.
Friday, October 28, 2022 | K. 498a second movement - I approached the melody like a solemn / peaceful choir piece (the calm after the turmoil / strife) - it has that kind of feel. And then it gets light and bouncy with the Minuet / trio. The third movement is going to be dynamic - between that, Mendelssohn's Spinning-Song, and another surprise piece. Whichever I feel more comfortable first.
Friday, October 21, 2022 | W.A. Mozart's K. 498a is the new, surprise piece. Surprise pieces are pieces that I had no plans or intentions of working on and uploading (although I played / practiced them often). But that's the power of music - "The Power Of Music Compelled Me" haha. This piece was very tricky - which is a reason I almost abandoned it. I'm not sure if it's on par or more difficult than K. 310 / 311. Very tricky pieces - I'll usually almost stumble or hit a few wrong notes on every take. The most important thing I've come to realize - don't think too much and just let the music flow. That's most important - if the flow of the playing is up to par or tempo, and if it doesn't deviate too much from what it should sound like. Intepretations on top of it just add flavor. I had a take where I put more emotion into the first movement. Perhaps I'll upload that as well in this page. The third movement of 498a is quite the doozy, but worth the wait. Beethoven's No. 26 Piano Sonata third movement is going to need more time as well.
Saturday, September 24, 2022 | Liszt's Hungarian Rhapsody No. 2 - or the "Tom And Jerry" piece (the piece that inpired Maestro Lang Lang to learn the piano when he was only a few years old). This is one of the most famous melodies of all, and quite technically difficult. Liszt is known for fast, running lines consisting of big, fat chords. It somewhat requires strong hands or fingers. Having a long reach absolutely helps, but not required. Hungarian Rhapsody No. 6 - I tried learning this piece years ago, but my hands / fingers were weak. Could not really play the chords all that well, or even evenly. My left was weak back then. But when played properly or at tempo (adding your own flavor once you get the hang of it), it is a fun / dynamic piece that your body wants to dance to (or bounce up and down on the piano seat haha). .
Tuesday, September 20, 2022 | *G A B E D, G A B E D, G A B C D, D C B A G, G A B A B * ...G F# G B E, D C D G A, B C A B G
Sunday, September 18, 2022 | ....D C B A G, C B A G D, B D F# G C.....
Saturday, September 17, 2022 | The Key of G Major is a warm sounding key - a lot of beautiful pieces are composed in this. G Minor is another one. Essentially, you can transcribe a piece to a different key if preferred or whatever floats your boat. B D F# G C, B D F# G A, G A B C D....
Monday, September 05, 2022 | The Intermezzo Op. 116 No. 4 is like a tender, brooding / fantasy piece. I've never heard this piece before (as with a lot of Brahms pieces - perhaps just once in my lifetime for certain Capriccios) - but after playing this for awhile, the melody grew on me. Although it is highly recommended to listen to previous recordings of others (concert or studio recording of a pianist) to familiarize with the melody, the danger of that is that you tend to focus too much in trying to play like that. Of course - inspiring to play in a similar style is encouraged (and is the source of my playstyle as well, in conjunction with my personal interpretations as well). The Capriccio G Minor Op. 116 No. 3 is a piece I'm looking forward to - I've heard this before, and it's dynamic and powerful. It hits the feels for sure.
Thursday, September 01, 2022 | When I want to immerse or escape to a fairy tale / fantasy atmosphere, I'll immerse myself in Mendelssohn's "Rondo Capriccioso". It is like a fairy tale in musical form - I get that sense from various melodies to me at least. This'll take some a bit more time, but not sure if before the "Spinning-Song". Brahms' Capriccio in G Minor Op. 116 No. 3 is a powerful piece.
Sunday, August 21, 2022 | My list for some of the most beautiful pieces ever (classical / instrumental): J.S. Bach, Aria (Goldberg Variations) J.S. Bach, Air in G W.A. Mozart, The Great Mass K. 427 (choral work) W.A. Mozart, Flute and Harp Concerto in C W.A. Mozart, "Queen of the Night" Aria from "The Magic Flute" opera W.A. Mozart, Piano Sonata K. 533 (second movement) F. Chopin, Ballade in G Minor (this has it all) F. Chopin, Piano Concerto No. 1 L.v. Beethoven, Piano Sonatas "Appassionata" / "Pathetique" S. Rachmaninoff, Variation 18 from "Rhapsody From Theme of Paganini" S. Rachmaninoff, Moment Musical No. 1 S. Rachmaninoff, Piano Concerto No. 2 J. Hisaishi, The Waltz of Chihiro, from "Spirited Away" J. Hisaishi, Nausicaa Of The Valley Of The Wind theme There's a lot more that I'm not really exposed to, or not familiar with (Beethoven's symphonies for example). But these make my list - always inspiring, moving, heavenly / emotionally powerful that you can either listen to over and over. Or play over and over.
Saturday, August 20, 2022 | Felix Mendelssohn's Spring-Song is a bubbly, happy piece that reminds you of that warm season. The piece is unique in its complex ornaments / grace notes littered throughout the piece - practically in every measure, every phrasing in both hands. The trick is to play these lightly, but at the same time - clear and concise. They are just supporting notes or "ornaments", so you do not want to play them heavily. Otherwise, the main melodic notes would be muddled or blurred. This is the difficulty which lies in this piece. I only heard Horowitz successfully play this piece - probably Lang Lang can also. While most pianists would probably omit the grace notes or at least sugar-coat it. I opted for the challenge. To play notes "lightly" or like a feather, you want to sort of just barely touch the keys or have your fingers bounce off the keys gently. So your hands would appear very active in motion, but not too much. His "Spinning-Song" is a fun one. Kind of similar in complexity to Var. 26 of the Goldberg Variations (but less difficult), it requires a certain amount of finger agility and stamina. Advice: practice those Etudes or other studies first. Or whatever works for you. The "Rondo Capprioso" is going to take time. But the dreamy, fantasy theme / melody is quite nice. Next post: My list of what I consider the most beautiful / emotionally powerful pieces.
Sunday, August 14, 2022 | Felix Mendelssohn is a composer I took a break from for awhile. I've been meaning to start over with new pieces eventually. He has recognizable melodies - probably the most famous is the Wedding March. While Mendelssohn's melodies are melodic, they do not evoke deep emotions nor inspire as much as others. They are just beautiful, happy / light melodies on the surface to enjoy. It might be more beneficial to play them for awhile I guess. Pieces of interests: Spring-Song (ornaments or grace notes need to be clear or concise in this one), Spinning-Song (practicing / focusing on J.S. Bach has immensely helped with the navigating), and Rondo Capprioso. The "Tarantella" already the starting point.
Tuesday, August 09, 2022 | I am not very familiar with Schubert's works or repertoire, other than the four Impromptus and Wanderer Fantasy. There are solo pieces (other than Sonatas), and I happened to come across "Adagio D. 612 in E Major" fortunately when looking for new repertoire. The melody was beautiful, unfolding like a poem or poetry - "poetic beauty". This piece is sort of an exercise in chromaticism, as opposed to scales of thirds in J.S. Bach. It's imperative to be mindful or distinguish between the 16th, 32nd, 64th scales / notes, so as not to blur them (since the latter is a bit quicker than the former - it can make all the difference). This gave me trouble for awhile. Practicing / playing J.S. Bach has made a lot of difference. I think Schubert is essential in a repertoire. I plan to re-do the Impromptu No. 2, and the No. 3 (a famous or well-known piece, because why not *with a massive burp / belch* - it is inspiring / touching). And Brahms,a Haydn before returning to Beethoven.
Sunday, August 07, 2022 | Out of all the Variations, I still say Var. 13 is my favorite among the few. To me, it is the closest to the Aria in terms of flow, sensitivity and emotions / the feels. Also - 11 and 21. I enjoy 12, it is exciting and upbeat. And 5 - however, it is tricky in terms of having to really focus (I believe there is the most cross-overs in this one out of all - quick ones). I still can't really play it "comfortably" without squeezing every ounce of energy. I guess I have to tweek my technique a bit. Another complete run-through of all Variations the other day has improved in terms of focus and energy - still work in progress.
Saturday, August 06, 2022 | The goal is to play the entire Goldberg Variations without getting tired or fatigued. Or playing it seamlessly from one to another. When you get mentally fatigued, things can get a bit messy or sloppy. It might, or might not happen. Some tips or suggestions from the "Joyoung's Musical Tutoring Service" (FOC - free of charge): A general sketch in learning a piece: 1. Learn a melody first by listening to a performer. If inspired or interested, proceed to step 2. Otherwise, find another piece. 2. Learn the notes and dynamics - sheet music tutorial or instructions to be provided. 3. Afterwards, interpret the piece in a way that moves / inspires you without overdoing it. Demonstration / supervision provided. (Perhaps Lang Lang's Teaching Books are options to get) 4. Memorize the piece (if performing, or as a bonus). More at another time. Just organizing my thoughts at this point. Nothing too serious.
Thursday, August 04, 2022 | The Aria is indeed one of the most beautiful and heavenly melodies ever - whether or not you play it tenderly, gently and with some emotion. It is piece that anyone can play, just be careful of the ornaments. Ornaments add dimension and more flavor, and is a characteristic of J.S. Bach. I'm not surprised then that the Variations turned out beautiful as well. It's one thing to play the Variations as separate or individual pieces. But the complete piece as a whole (all 30 with repeats), is at a different level. I'm workin' on this - already went through a few run throughs. For something like this, having absolute or strong concentration / focus is key. Because it can get mentally and physically exhausting (this type of work does require a certain amount of precision and energy). Preparation is key. Look at each Variation as a different personality, or character / experience. Look at the piece as a whole. For instance, Var. 1-10 (happy, naive experiences), 11-19 (progressing along the journey), 20-30 (turmoil, pain / fury, learning from the dark / negative experiences). Up next: a Schubert Adagio piece.
Monday, August 01, 2022: Alternate Takes | I usually do at least 5 takes (warm ups), and the ones I listen to and decide to upload are usually among the last few takes of the day before calling it. I usually never save any takes - very rarely is there two takes that I am satisified with somewhat (although I'll never be completely content with it). For Var. 26, there was an alternate take that I was about to upload as the final before settling with the one already uploaded: Variation 26 (alternate take - a bit more light, happy):
Sunday, July 31, 2022 | Var. 26 - for me, the climax of the entire piece in terms of dynamics, melody, and emotion (heightened emotion / sensitivity). And I consider it the most technically challenging of them all. Or course - every Variation has its own set of challenges. Even the very first Variation is not easy, if you have a not-so-strong fingers 4/5 to deal with the thirds. It's a mis-conception that the first piece of a series or a collection is easy. That's what I thought as well before. Var. 26 main melodic line seems to begin in the bass, with the rhythmic chords and crosses over into the treble. The sustaining / running arpeggio seems to have its own melody, although it's probably more as a support melody. It all comes to heads as the piece comes to an end (in the final few measures or bars), as both hands have their own separate lines and flow together harmonically to conlude the piece on a low G. This is complicated both on paper and when you hear it. I was mesmerized by it from Lang Lang's performance. I never thought that I could have that magic touch as he did, so I tried to hear it with different lens / expression. It's an exciting, dynamic piece that has that feel of an airplane about to take off (as Lang lang would describe it). For me - it's like a troubling conversation encompassing life's experiences of happiness, sorrow, fury, and pain. With that said - I'll most likely be playing / practicing J.S. Bach's Goldberg Variations even further (or try to regularly). It is a permanent part of the repertoire. Of course, the piece is not complete without the Aria. Certainly looking forward to Schubert's Adagio piece and a Brahms Cappricio.
Thursday, July 28, 2022 | I'm intrigued by a Schubert's Adagio piece - it is very Nocturne-like. It kind of has that dreamy atmosphere, sort of like Tchaikovksy's Nocturne. The thing about Adagio or slow pieces, is that there is a tendency to either play it too slow or too fast (certainly my troubles). It makes it sometimes more difficult than Allegro type pieces. I say - just go with how the melody flows or how it inspires you (within the confines of what the tempo is or what the piece is / nature of the piece). I'm also focusing on a Hisaishi piece (non-Studio Ghibli this time). Var. 28 - this felt like another finger exercise, with trill-like notes that run throughout the piece or support the melodies in both hands. Still - it is a fitting piece as part of the final few Var. to end the "journey". Basically, the final goodbye before the new beginning. Only Var. 26 left - here I come.
Monday, July 25, 2022 | Var. 20 is a dynamic piece that encompasses turmoil, strife and a bit of pain / fury. At least the second section as it ends. But for sure - the first ten measures or so couldn't be anymore trickier and took awhile (god knows plenty of takes and re-do's). It's certainly a type of piece that I would have to re-learn if I don't play it enough or often. Two melodic lines that converge and then diverge in opposite directions - there is always a technique for these things. It took awhile to finally identify that, and still - my hands are just getting used to it. Var 20-30 are the culmination of emotions, where for me - climaxes to 26. And finally ends with the Quodlibet in a final resolution or closure / new beginning. I'm looking forward to Var. 26. But for me - being the most technically difficult among the Variations, I'll need more time. Especially in how I want to express it.
Tuesday, July 19, 2022 | The journey comes to a close with Var. 29 (alongside the Quodlibet 30). It has that majestic / prideful feel to me, and quite fitting considering the range of emotions felt during the run through of the Variations. For me - I can interpret this as sort of a "redemptive" journey, my "redemption". Or my "liberation notes" literally. Up next might be either 20 or 28. 28 is more tricky than I originally thought. But 20 is on the hinge of that turmoil / more intense emotions to me. What a journey. What a ride. Or course - the piece is not complete without the Aria (the main melody where the Variations are based off of). At some point, I'll have to although I prefer not to since everyone knows this (the De capo won't be necessary for me).
Thursday, July 14, 2022 | Var. 23 is a lively, bubbly piece, which feels like a W.A. Mozart composition. It's as if renewed energy / light happiness (something you can dance to) has been found, after what was a somber and melancholy Var. 22 prior. But it doesn't last long - it climaxes with Var. 26, what I consider multiple of emotions coming together. Despite the trials, tribulations and pain - Var. 29 is almost majestic / prideful melody - renewed lease on life, confidence. This might be next to upload. What's my "bare necessities"? Just music. And my daughter / family.
Thursday, July 7, 2022 | Var. 27 was particularly frustrating, but interesting. It might be my least favorite variation, but it is still beautiful. This piece is akin to a duet, with two diverging voices in a conversation. On paper, it doesn't appear overly difficult. But when you begin practicing, it is. The suggested ornaments in select notes (especially in the bass) are tricky. It is usually the case, I begin to not like a piece and then it grows on me. Var. 26 would be the final piece to polish, refine and upload. It is still a work in progress, and arguably the most technically difficult. However - it is the "Climax" of the entire Variations to me. All the emotions of excitement, happiness, and even pain / tragedy seem to come together in this one. The Variations come to a final resolution, closure afterwards to the Quodlibet Var. 30. What a journey.
Monday, July 4, 2022 | I felt that Variation 17 had the trickiest hand crossing. Sometimes - brief, quick ones that happen in a blink of an eye are more trickier than sustained ones. Var. 5 is another one. Var. 17 truly felt like finger exercises, not necessarily melodic. But you have to listen or look at the overall picture at the main melodic line, which makes this unique or different. But it stays true as a variation off of the aria.
Thursday, June 30, 2022 | Variations 20, 26, and 28 are going to take more time but getting there. A lot can be said of J.S. Bach and why many of us avoided playing his repertoire in the beginning: 1. A pianist must be adept or strong / flexible in both hands to deal with the seemingly endless arpeggios or melodic lines with multiple voices. 2. The seemingly endless arpeggios or melodies on either hands can seem like just finger exercises. 3. Unfamiliarity with the Baroque technique (learning this would truly add dimension or authenticity). After becoming addicted to the "Goldberg Variations", I have to say it is truly J.S Bach's most beautiful (if not the most beautiful of all keyboard repertoire) works. His Fugues come second. My advices or suggestions: 1. Approach the piece like a heavenly choir piece. Learn / know the melody - the notes will naturally follow afterwards. 2. Practice / strengthen your weak hand so you can make the melodies sing on either hand like voices singing. 3. Play it slow in the beginning! I'm trying to come up with other suggestions, advices I can put together (in addition to a lesson plan) for a future tutoring endeavor. Possibly. Potentially.
Sunday, June 19, 2022 | Pieces to return to: Liszt's "Danse Macabre", Liszt's "Il Lamento" Etude, Haydn's "Gypsy Rondo in G" Some new pieces: Brahms' "Cappriccio", J. Hisaishi "Friends", Beethoven's Piano Sonata No. 26 (saving this at some point in the future) Sometimes I begin practicing a new piece and forget to return to it. It's mostly due to the time consuming nature of a piece in finishing a piece - unless it is very inspiring or hits me in the feels, I probably won't finish it or focus on it anytime soon. But most of the time, my fingers are just not ready or needs more conditioning / strengthening in order to really tackle it. That's where J.S. Bach comes in - as both finger exercises, and beautiful pieces to play. The "Goldberg Variations" is an epic / monumental piece (30 variations that are like 30 separate pieces) that can get tiring without absolute focus / concentration. Memorizing / mastering them is at a whole different level, only a few such as Lang Lang (and his inspiration Glenn Gould) can do. When melodies inspire / moves you, you don't really think about the fatigue and getting tired. Sometimes - the melodies just carries you to play them. Once all variations are more polished, I'll play through them with repeats. My Journey - the "Goldberg Variations" felt like a personal journey to me. Sure - it was meant to put John Gottlieb Goldberg to sleep, but didn't work haha. Going through each one, is like having experienced either excitement, trauma, the dark emotions from exclusion / rejection, etc. In the end, all journeys come to a conclusion with a renewed sense of a new beginning or just laughing at the trials / tribulations of life (all the more wiser and mature by the end). Of course - Var. 26 is the most exciting one of them all, and that'll be the final one to polish / finish. Since it is quite difficult, it is going to take the most time. I highly recommend Lang Lang's Goldberg Variations album in professional form. Or other pianists to your liking or preferences.
Wednesday, June 08, 2022 | My least favorite Variations are 15 and 27. All of them however, are beautiful and difficult in their own way. I've been growin' on Var 15 - it has that brooding, mysterious feel (akin to the 25). I've been experiencing this - that I've grown to like a piece when you practice or play it more or often. At least if a piece is played at the proper pacing, tempo - with a touch of your own personal interpretion as well. 8 and 16 might be next - the variations after 20 are going to take more time. Arguably the most difficult.
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