Added: 3 years ago
From: accompanist789
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  • Greattt. I Needed this accompagnamento for a Conservatorio audience (for training). Thanks.

  • Thanks a lot. It's a big help.

  • this is FANTASTIC! i'm using it to prepare for my voice final tomorrow, and it's been a huge help! THANKIE MUCHNESS!

  • @pattonlover98 Very happy to know that it helped you. Hope the exam went OK! ;)

  • this kunstlied is epic!

    cant hear it often enough!

  • oi thank you very much! can you post more of them please? i havent checked if you also postet "die rose die lilie" but if not, coudl you pleeeeeeease do it? Thanks again :)

  • Excellent tempo.

  • How very well put. I fully agree. There is the matter of Nuance ~ vis a vis Rubato, for tempo, Variance in Dynamic shading, especially in music written during this period; for musical and tonal expression.  Well said. One of my favorite Piano Accampanists is Gerald Moore Moore worked well with his singers, very homogeonous pairing between Vocalist and Pianist. Great Sympatico.

  • On the thread of emonalism/Romanticism vs mathematic. JS Bach is mathemaatically correct, however, his motion in his music comes out ex: Air in G maj from the 3rd English suite - Very emotional. Robert Schumann was a very emotianal and intense man being from the Romantic period of music,

    he portrays Anger and Betrayal rather well in this Lieder. Tempi are right on. 5***** to you.

  • Very difficult singing to a pre-recorded accompaniment. There is the matter of rubato, and singer and pianist must listen to each other. Otherwise it's like singing along to a pianola roll.

  • @saltburner2 Well you could always play for yourself if you're going to complain.

  • Comment removed

  • Thanks for posting this. It was quite useful for personal use.

  • Thanks for letting me know, I'm happy to know my accompaniment is being used.

  • wow the harmony is so well organized its as if it was written by a computer. How do humans come up with sequences of chords that twist around every which way, are logical, symmetrical, and somehow end up back at the tonic in the right place at the end of a phrase without doing something stupid to get there. amazing.

    There must be some sort of math for coming up with this stuff.

  • It has more to do with human emotion then mathematical sequences. The basic I-IV-V-I chord progression is built on how we hear music and how it feels to us. The feeling of tension by dissonance drives us to tonic. It makes logical sense because we are emotional beings. If you want to hear mathematical music you should listen to Schoenberg's music built off the twelve tone row.

  • pretty good, and I also share, that this is beautiful with only piano too. But I think, your articulation is a bit too rubato for an arranger role. I know, that much more enjoyful this style for the player, but not for the audience. your dinamics are great :)

  • Perhaps you are right. It is difficult to play without the singer! ;)

  • Thank you, yes. But this is TOO fast. nicht zu schnell?

  • Vielleicht! ;) I think the tempo is a matter of personal interpretation. I am playing faster than the marking (80) in my copy, but there are respectable performances faster than mine. (see Wunderlich on youtube for example)

  • thanks for posting! i wasnt sure what the tempo of this was supposed to be like!

  • Ahh! Thank you so much! This helps me so much with my studies at home.

  • Happy to know you're using it.  Thanks for the comment.

  • nice one. thanks just what i needed to practice!

  • Glad that you found this useful for your practice. That was exactly my point in posting. Thanks for letting me know!  :)

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