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Thoughts and Updates on Repertoire | |||||||||||||||||||||||||||||||||
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Wednesday, December 11, 2024: "Just when I thought I was done, I'm pulled back in". I enjoy learning / playing pieces that are relatively unknown or unheard of, or pieces that have frequent key changes or lots of accidentals. While the "trifecta of trickiness" K. 309 - K. 311 happens to be my favorite Sonatas, I find myself polishing and finishing an unknown one. This has sort of a Haydn influence I think. I did try to record this one before, but realized it wasn't really finished or polished (as in other pieces, which I have gone back to finish). Well, the Liszt etude is priority in recording. Unless I feel the inkling to record the Sonata first - is the third movement of this actually a third movement, or another Sonata.
Sunday, November 03, 2024: | I feel that the Liszt's first concert etude is ready to record now. Finding the time isn't easy. In the meantime, continue to practice and smooth out passages in case, or just to make sure. I began to practice La Campanella again. I think conditioning and practicing them insane leaps or distances in passages on other pieces helps tackle more difficult pieces or just as difficult pieces. Again - it's not just in repetition, but also technique. Music is all that matters. Nothing else. Booyah! I'll most likely rotate 4 different past video recordings or pieces weekly. Lest I forget.
Friday, November 01, 2024: | La Campanella. This is a famous piece that you hear often, performed or played by concert pianists. It isn't easy, due to the distances and leaps. But doable. It's just easier for anyone with large reach or hands to be able to play this, or learn this. This is why I never bothered to polish or finish this piece, due to my small to average-sized hands. However - I feel conditioned enough to be able to finish it at this point. It is very fun to play, once played at tempo. At least I know the first section by heart. Right now - the focus is on Liszt's first concert etude. Since it's progressing along, I'm excited for this next recording. But it's not going to be anytime soon (due to our newborn), unless there is a favorable situation. Hopefully, something can be figured out. The two projects I thought of (but most likely not going to get to): the entire "Pictures At An Exhibition" recording in one video. And memorizing "Flight of the Bumblebee". But who knows.
Tuesday, October 29, 2024: | Liszt's first concert etude is progressing more than I thought. It's finding practice time and finding the time to record fully without disturbing that is more difficult than practicing the piece itself. An amusing "Childhood Trauma" scenario. Parents: "Why don't you paint or draw. Or do martial arts. You could be good at it." Interpretation: "You don't look like the type that could be good at the piano or music. Your brothers and sisters would make better musicians. You are only taking lessons as an after school activity". Steven He had it right somewhat. Asian Guys would make excellent hustlers when they're looked down upon (profit potential).
Saturday, October 26, 2024: | I'm pretty much committed in finishing / recording Liszt's first concert etude, il lamento. Eventually. There are pieces that are beautiful and melodic, and then there are pieces that exude "musical euphoria or orgasmic emotions". While the description might be laughable, it is pretty much true if you are truly inspired. There is no other way to describe it. Since it might not be until well into next year for the new recording (due to our newborn and I can no longer do full practices - bits at a time at a higher frequency, but as long as it remains effective), I'll put up past recordings on the Classical Repertoire video main page - 4 videos and rotated with different pieces. This is a way in some platforms, to showcase old, past videos or recordings that haven't been seen in awhile. Just as a refresher.
Wednesday, October 02, 2024: | I'm laser focused on finishing Piano Sonata No. 31 and Liszt's first Etude de concert. I put off or abandoned a lot of pieces, mostly my hands weren't conditioned enough for a lot of the intricate passages or leaps. As well as, not motivated at that time to take in a new approach to a piece. It's imperative for me to enjoy a piece first and foremost, otherwise no interest in finishing it. As I've already mentioned - any piece is learnable and can be conquered or mastered. It's all in the attitude. It'll just take much longer to learn for pieces that are seemingly out-of-reach for your hands. When you're dealing with large leaps involving chords, or chord-heavy arpeggios / passages, fingering and using your arm / wrist become more imperative. Practice them. Essentially, I found "il Lamento" etude requiring more finesse than power. Although you always need power for accentuations or forte dynamics.
Wednesday, September 25, 2024: | Here are the final recordings (albeit from memorizing them) I feel content with, or "I Would Have Uploaded To Youtube Or A Public Platform 10 Years Ago Without Hesitation With This": W.A. Mozart, Fantasia K. 475, Rondo K. 511, Piano Sonatas K. 309 - K. 311 ("Trifecta of Trickiness") L.v. Beethoven, Piano Sonata No. 7, No. 8 "Pathetique", No. 15, No. 26, No. 31 (in the works / after completion) J.S. Bach, Three-Part Inventions (select) page F. Mendelssohn, Scherzo a Cappricio, Rondo Cappricioso, Folk Song (Songs Without Words) F. Liszt, Un Sospiro F. Chopin, my entire page F. Schubert, my entire page Tan Dun, my entire page G. Bizet, my entire page J. Hisaishi, my entire page N. Tsujii, Elegy V. Guaraldi / "Peanuts" Theme, my entire page C. Sinding, Rustles of spring P. Tchaikovsky, my entire page
Wednesday, September 11, 2024: | I was able to practice more Beethoven's Piano Sonata No. 31 more in-depth. The first movement is straight-forward with a cheery, energetic / bright melody. The next few sections or pieces become more cryptic or mysterious in tone, intertwined with some simple Fugue-like sections and then going back to some somber, melancholy melodic lines. A lot of Beethoven's Sonatas have a lot of sections or movements after the first movement. Or one very long third movement. So the Sonata as a whole can be very long. This is what makes Beethoven difficult. I suppose they would be considered fourth, fifth or sixth movements so to speak if there are multiple sections. I wouldn't know the proper categorization of them, but only knowledgeable musicians who are familiar with Sonata structure or the composer's intentions.
Monday, August 12, 2024: | I don't know exactly the context of composing the third movement of Piano Sonata No. 26 or what Beethoven had in mind, but I think it's a bit off from my intent. I'd consider the third sort of like a "Rebirth" or a "New Beginning" from the tragedy or emotional scars. The first movement the final closure, or journey's end. I just get that thought from playing it. The beauty of interpretations is that re-imagining a piece is an option. As long as it is played more or less properly in technical terms. Haha. If I can find new Beethoven to learn, that is an option. Right now, I am at a pianist's block myself in terms of what to learn or play these days. Most pieces have been already over-played or over-done. The final movement for No. 15 No. 28 has an unusual melody, pacing - which I found unique and interesting. The last section is the type of difficulty that needs a lot of patience and practicing. It's not the "My Hands Are Too Small For This" type that might be problematic for heavy, technical pieces (which is my case). But Beethoven is more about finesse and power. *Agreed - don't think too much about mistakes. Relaxing is the key. A pianist should be more worried about flow and pacing accordingly to what the piece is about. Of course - don't butcher it at the same time. You still should aim for precision, but that is not priority.
Thursday, July 25, 2024: | I never had any real passion for the piano when I was learning it in my teenage years. I hated recitals. My focus wasn't there, my attention to detail wasn't there. My hands were weak. I think reading Lang Lang's "Journey Of A Thousand Miles" (which I've been keeping as a souvenir or a prized possession like a museum exhibit), renewed my interest in practicing / learning new pieces again. But the real 'light switch-on' was watching Lang Lang's Goldberg Variation 13 tutorial / performance in Beijing before his album release / tour. Thanks to his Goldberg Variations rendition, my passion just flared from then on. And I can't stop. I'm also taking notes from Nobuyuki Tsujii and the VGP performances. With Lang Lang's recent throwback of 'Tom & Jerry', it appears I'm itching to learn the "Hungarian Rhapsody No.2" for real. Liszt also has near-impossible chords and stretches / or reaches. Only through conditioning, strengthening and passion or dedication can this be achieved.
Wednesday, July 24, 2024: | I have renewed investment or focus on Beethoven - finishing off some unfinished Piano Sonatas. A little at a time. Beethoven's melodies can be emotionally overwhelming - so I have to take a break once in awhile. There's a lot of power and grandeur in them. I've been thinking about "trying to record" the entire Moussourgsky's "Pictures At An Exhibition" as a whole. In an anthology or a collection, I'll usually record individual pieces no matter how brief they are. These days, the attention span of most listeners last only about a few minutes unfortunately haha. But who knows. If I can ever polish or finish the last two pieces: "Baba Yaga" or "The Hut On Hen's Legs" and the very proud "Bogatyr Gate". They are a doozy, and is going to take awhile. *JYS Tutorial / Advice of the day: make sure the main melodic line or notes are clearly heard, even if you have to stifle the supporting line a bit (whether it's in the left hand or right hand). Not to say to put too much pressure, but a bit more pressure on the notes in the melody, and a bit less pressure on the supporting notes (of course - you still want to hear them as well).
Sunday, July 07, 2024: | Currently playing / practicing: Chopin, Nocturne Op. 55 No. 1 Chopin, Grand Valse Brillante Op. 34 No. 3 and Op.18 Beethoven, "Appassionata" third movement Beethoven, "Les Adieux" first movement
Thursday, July 04, 2024: | I've been focusing on some Chopin Valses and Nocturnes. There are some quirky, interesting ones. The lesser knowns are usually more interesting. Op. 32 No. 2 Nocturne was a pain - it's like a Bach piece. I would have to re-learn it if I stop playing it for awhile. Again - it was the sweeping, emotionally-charged melody that kept me going. For the difficult middle section / melody - it's all chords. Sustaining it at tempo is the trick. It is necessary to have the stamina and dexterity to deal with all the accidentals on the chords. I wasn't familiar with Op. 32. No. 2. Then I saw a music performance video years ago from Mr. Kissin when he was just a boy. I was inspired by the melody. You can call it, "The Magic of Mr. Kissin" haha. When it comes to inspiration, remember however: "Inspiration lies within". Similar or akin to "The Shawshank Redemption" line: "Salvation lies Within". Literally and figuratively.
Friday, June 28, 2024: | Beethoven's "Appassionata" third movement is probably one of the most passionate / intense pieces I've heard so far (more than the "Pathetique", but I guess the Sonata is aptly described as "Appassionata"). I think the "Les Adieux" Sonata brings closure to the journey. Which I have practice again to re-polish up to tempo. Among his 32 Sonatas, I'm only familiar with only 5 or 6. So there are probably even more intense pieces. For any demanding or difficult piece, you have to learn it or play it slowly first. And then build up to tempo. Otherwise, it won't be even. There'll be missed / incorrect notes. It might not be even clean. Chopin Nocturne Op. 32 No. 2 is almost ready. The 'sequel' to no. 1 of course. I've always wondered why a piece is composed with a bunch of accidentals instead of composing it in the key with that many sharps or flats. But then it occurred to me, the underlying key signature is necessary for the base melody. The accidentals just enhances the melody, or changes the melody slightly for more color or flavor. I don't know actually. Or it might just be a technical reason.
Saturday, June 15, 2024: | Chopin's "Grand Valse Brillante" Op. 18 in E-flat is another piece I am practicing again. It's a very energetic and dynamic piece, also well-known amongst valses. I was in the middle of learning this long ago, but just it remains unfinished. For posterity's sake, it is on the recording agenda eventually along with the other Chopin pieces. K. 309 - most different K. 310 - most dark K. 311 - most tricky / difficult This completes what I call, the 'trifecta' in piano sonatas because they are tricky. There ya go, enjoy.
Tuesday, June 11, 2024: | C. Sinding's Rustles Of Spring is a forgotten piece. The back story - I started learning it from my private instructor (my teenage years when I hated playing piano), but eventually abandoned it. I only bring this up, because it's different or new repertoire / composer. It's all 16th and 32nd notes, with most of the melody in the left hand. A very brisk, gusting tempo that mimics rustling of leaves or tree branches. Sort of creating that ambiance of the season. I'm not sure if I'll finish this one. For sure - you have to be comfortable playing chromatics fast and quick in any hand in order to convey this piece well. I guess that's the case for an Etude-type piece. Frederic Chopin, Waltz in A-flat Op.64 No. 3 Nocturne Op. 32 No. 2
Sunday, June 09, 2024: | You can ask any experienced pianist or piano instructor about the middle pedal. When I took private lessons, I think I was told what it was. Never used it since then. It's basically to sustain the sound of a note. You play a note first, and press / hold the middle with your left foot for however long you want to sustain the sound. Or is it the opposite - I forget, I never used it but basically that's it. With your right on the damper pedal if so inclined. It kind of feels like using the clutch on a manual car. Probably not the proper analogy. But it feels like it. Either way, it is not really used at all. Bizet's Toreador Song might be next, or finishing up K. 309. Booyah!
Saturday, June 08, 2024: | I have been working on or practicing 1 Chopin Nocturne and 1 Chopin Waltz. That's it. Now I'm inspired to focus on them again haha. When you think of piano, you usually think of either Chopin or Beethoven. It's as if it is mandatory to have Chopin repertoire in a pianist's repertoire. That makes sense. Probably the most eclectic piano pieces out there (other than Sonata form) - Nocturnes, Etudes, Waltzes, Scherzi, Ballades, Polonaises, etc.
Tuesday, June 04, 2024: | "Baba Yaga" (whatta funny name haha. Sort of like, Nahganna Dah, wattabahgaaah, or Thatsaah Aahlaahttaah Damage hahah) or "The Hut on Hen's Legs" is coming along. This one is a doozy. Sandwiched between two playful, mischievous and teasing movements, the second movement of K. 309 is the complete opposite. Tender, soft / affectionate, spellbinding. This one is sort of an oddball or unusual. Usually, movements without any repeats are different (one, long continuous melody - unless it's a rondo). This is one of my favorites now.
Saturday, May 25, 2024: | A few "JYS Guidelines / Thoughts or Guidance":
Thursday, May 23, 2024: | I've always felt K. 311 was one of the more trickier, difficult Sonatas. And it also is one of the most underrated, and unheard Sonatas. While being one of the most playful, fun, light Sonatas / piano pieces out there - exemplifies the composer to the tee. I wasn't really planning on finishing or re-polishing this one initially, but I think it has some of the most inspiring, fun melodic lines out there. This piece is an example that if you think too much about the notes, it won't naturally come. Of course, you have to pay attention to them and be aware of all types, the rhythm, tempo and dynamics. The point being - just relax, don't overthink and just practice. Productive practice habits are more important than the amount. Being inspired or motivated helps.
Tuesday, May 21, 2024: | "The Flight Of The Bumblebee" would have been done by now, but there's been other pieces to focus on. My approach is simple - just whenever I'm inspired to work on it. Even bits at a time. That works for me. I am in the process of memorizing it. The path of a bee or a bumblebee is not linear - obviously. So, the frenetic pacing and speed calls for a crisp, and clear approach (mimicking the "buzzing" nature of a bee). With a touch of my own. We're living in an era where everything or anything can be learned on your own. However - institutions or schooling is necessary if you want a career in a field. The medical field or engineering field is a must - because a person's life or livelihood is at stake. You need trustworthy and experienced professionals. The Arts? Not so much. This can be learned by anyone. Unfortunately, there is a lot more room for prejudice in this. I find far more inspiring talent that make it on their own. In the classical world, institutions are required for any chance in a career. I now recognize that there are a lot more technical wizards or astounding musicians than I can count. But it's how you can stand out - the criteria of judging can be skewered or manipulated too easily, I never trusted them. Sometimes, it's all about "looking the part" or who has the most charisma in the end. Discrimination still exists in the arts. In the end - the true meaning of Music or the Arts should reside in having real passion for it. And if it positively affects your life.
Sunday, May 12, 2024: | "The Ballad Of Unhatched Chicks" - a cute, innocent caricature of unborn baby chickens or chicks seemingly dancing in the egg / waiting to hatch, and then hatching. The pianissimo is difficult to play - but you want to create that atmosphere of the newborn chicken just waking up and then fluttering or flying. Two more: "Cattle", and "The Hut On Hen's Legs" (most difficult and my favorite). I'm fixated on K. 311 third movement. I'd consider it the trickiest of the third movement piano sonatas. And it is the most playful, emotive. Any piece is learnable - it depends on how inspired or motivated a pianist is. Discipline and patience is necessary, especially if you don't have strong hands. My hands are small to average compared to other pianists, so I have to do what I can (if I truly enjoy a piece). I don't believe in the traditional, didactic learning in schools because any bozo can learn an instrument. It's only necessary if you are unable to learn on your own. However - I would recommend more modern methods (more fun / effective ways such as in Lang Lang Music Programs / institutes). But what they have all in common - is that they are necessary if you decide in a potential music career (all teachers should have experience in music history, knowledge and guidance). If I had to create my own guidance / coaching methods in music, it would be more of a "guidance" type than didactic.
Monday, May 06, 2024: | My favorite "Pictures At An Exhibition" pieces are "Tuileries", "Limoges" and "The Hut On Hen's Legs". "The Hut On Hen's Legs" is perhaps the most difficult one, and this'll take more time. "Tuileries" is very 'picture-esque". You can imagine a picture of children quarreling, and their mamma / grandma or whoever, gently scolding them. And then the children responding or whining to the mamma. Ultimately, the piece ends as if the mamma resolved the quarreling with the final say. There is one piece I heard or read was quite deragotory. I'll most likely skip this one. Or flip the piece upside-down, and re-title it a generic name to suit the times: "John Smith". The sound of the piece is one of snootiness, snarkiness, and just plain stuck-up (an apt description of most hollywood fucks). "The Bogatyr Gate" - massive chords and leaps. Probably won't do it. Very prideful and nationalistic. I might skip this one as well. When it comes to Music, I'll only interpret pieces in an Artistic sense. Otherwise - I suspect most countrymen of the composers are music illiterates or incompetents. There is no correlation between competency and where the composer or the person is from. Music is a Universal language that anyone can express.
Tuesday, April 30, 2024: | Lang Lang and Jimmy Fallon. It's more than a collaboration, they have fun doing it. I'm not a fan of talk shows at all, but it's usually the skits or musical guest that are more standouts than the guests themselves. Poking fun at mis-pronouncing Saint-Saens' name, and the apt descriptions of each piece excerpt was entertaining and pure poetry. After all, Music is Poetry in a way. You shouldn't think too much about the notes - just the melody. The notes come naturally afterwards.
Sunday, April 14, 2024: | Currently playing / practicing: Bizet's Toreador Song from Carmen (piano arrangement) M. Mosourgssky, Pictures at an Exhibition (select) The Flight of the Bumblebee, Rimsky-korsakov L.v. Beethoven, Piano Sonata No. 7 third movement W.A. Mozart, K. 311 (finishing this)
Sunday, April 07, 2024: | Bizet's Carmen is arguably the most famous opera (other than Le Nozze Di Figaro), with recognizable music used in films / shows (notably, "The Bad News Bears"). Oh, and remember the old Simpsons episode where Homer and Bart attend the Carmen opera - "Is that fat enough for you , son" hahaha. With that said, I'm inclined to work on the Toreador Song. There is no piano score, since this is an orchestral / vocal work. However, there are transcriptions and arrangements out there.
Wednesday, April 03, 2024: | E Minor. What a key. Guess what the next recording / video is haha. I'm not familiar with any pieces in that key, nor there might not be a lot of pieces in that key to begin with. Perhaps D Minor and C# Minor are more prevalent. Either way, minor key pieces tend to have a more dark / fantasy type atmosphere. I enjoy pieces that switch keys within the piece, from Major to Minor. From Minor to Major. From 1 sharp to 7 sharps haha. Liszt and Chopin come to mind.
Sunday, March 31, 2024: | Apparently, K. 498a Sonata most likely belongs to someone named A. E. Muller. I did not know that. I guess it pays to do some research, if a piece is not listed on a composer's wikipedia or whatever. I erroneously thought it was a W.A. Mozart composition. Certainly, the melody is in the style of the composer. It is melodic and beautiful enough to play or practice it. I'm not sure about uploading it anymore. Most of us probably think of the melody belonging to Mozart than Muller (even if it was composed with similar melodies and rhythms). I don't think Muller would be a "Salieri-type" of composer, taking credit for a composition not his own. Perhaps it was composed just as an influence. Imitation is the greatest form of flattery sometimes.
Tuesday, March 26, 2024: | Practicing / working on: L.v. Beethoven, Piano Sonata No. 7 third movement Felix Mendelssohn, S C H E R Z O A Capriccio (this'll be a fun one)
Monday, February 26, 2024: | So I am actually practicing Mendelssohn's "Scherzo a Capriccio" again. It just beckoned. The Magic Of Young Raymond Chieng. It is coming.
Sunday, February 25, 2024: | I went back to re-listen / re-watch some Lang Lang Foundation's astounding young pianists. Lu Chen performed the "Winter Wind" Etude on par with Lang Lang, or even better than most grownup performers. I can't even get past the first page yet. I think the Video Game Pianist would play this fine. It's unfortunate that the audio during the Chopin Scherzo was cut off. I created a new playlist for some of my favorite young scholars of the piano. The future "sounds" bright - pun intended haha.
Thursday, February 22, 2024: | It's nice going back and practicing the "Goldberg Variations" again. It's been on and off. Sometimes, it's refreshing to just go back to light-hearted, inspiring melodies. Deep, emotional ones can be played as outlets of expression or just to channel. But I should take a break from them for awhile. I'm not sure about the future of this blog - I might just remove it, and jot thoughts on my "Reflections" blog on pieces that I enjoy practicing, playing and uploading / sharing. Perhaps this is no longer a useful endeavor. As long as it keeps my mind and emotional state preoccupied. As long as there is the possibility or potential of even at least only 1 or a few listeners / viewers out there, I'll keep doing it. If not for my own sake. At this stage, uploading to a more public video platform might be too late (since I do not know how to network or socialize, there'll be nobody). But there are only a handful of videos / recording I'd be comfortable uploading (not all). Self-recording / uploading to share has been more of a learning experience. Listening or watching concert performers and learning from them. And then re-doing the recordings. What I have uploaded is pretty much permanent, or settled now. Not to say they would be performance-ready. I'd have to memorize them as well. Performing is an entirely different ball game. A performer would have to be overcome nerves, and have to concentrate well. There are techniques to relax more - nerves are always going to be there. You'd have to immerse in the music - not rush through it. Take your time, and enjoy as if no one was there. Experience absolutely helps. I don't select pieces to either prove a point, or because it's technically astounding. There are a lot of pieces that require a lot of practicing. I select pieces that either inspires or moves me to the point where I want to learn it. That should be the point of music. In my opinion. Just as the point of a shelter is to be sheltered haha.
Sunday, February 04, 2024: | The next recordings / uploads: Felix Mendelssohn's Rondo Capricioso and 1 more Rach prelude. The Mendelssohn piece is another epic, fantasy-type piece that I've practiced on and off. It took awhile. For awhile - I wasn't sure if I was going to get back into it. But after Mozart's Fantasia, something re-ignited within. It's a piece that works well if you are really into it. As with any pieces, it's easier to learn if there is the inspiration or motivation. "Epic" pieces are long pieces that can be technically demanding, but unfold like a story. If you don't memorize them, the page-turning can interrupt the flow (and with long pieces, there are plenty of pages to turn). Unless you have a designated page-turner, or the sheet music not in booklet form. Otherwise - memorization is required for performances. But it is possible to get away with it. I can memorize pieces, but there is no motivation to since this is just a hobby. The most important in sharing music - for the listener to "hear" the interpretation or dynamics / flow of a piece. |