> an orchestra will never play it that fast. forgot to say, in the un poco piu mosso you have to keep whatever tempo you end up with. don't do that section too fast because then you'll die in the development and you'll have nowhere to go. check notes leading into the recap. take more time in the ritard there. meno mosso - take time for that gorgeous D7 chord. orchestras almost always will. leading to the moderato - dont be aggresive! it's calando. you're very talanted, good luck! bravo!
project more, and slow down in the 2nd theme, relax!! what's the rush. sometimes your line feels static, note by note - there's no direction. maybe it's because of the quality of the video itself. good fast fingers! don't try to make EVERYTHING musical - for instance the two pages before the development - fast, precise, almost attacked and projected. listen to the orchestra! why the sudden change in the allegro (leading to the recap), it's such a beautiful moment it needs to be broad.
I'm working on the same concerto at the moment. I'm nowhere near where you are yet, but I did notice a few times you and the accompanist fell out of sync, but hardly noticeable to the untrained ear in regards to this concerto. Bravo! I hope to get to the point sometime this year where I can do the same with my piano professor. :-) 5 stars!
> an orchestra will never play it that fast. forgot to say, in the un poco piu mosso you have to keep whatever tempo you end up with. don't do that section too fast because then you'll die in the development and you'll have nowhere to go. check notes leading into the recap. take more time in the ritard there. meno mosso - take time for that gorgeous D7 chord. orchestras almost always will. leading to the moderato - dont be aggresive! it's calando. you're very talanted, good luck! bravo!
langlangsucks 3 years ago
project more, and slow down in the 2nd theme, relax!! what's the rush. sometimes your line feels static, note by note - there's no direction. maybe it's because of the quality of the video itself. good fast fingers! don't try to make EVERYTHING musical - for instance the two pages before the development - fast, precise, almost attacked and projected. listen to the orchestra! why the sudden change in the allegro (leading to the recap), it's such a beautiful moment it needs to be broad.
langlangsucks 3 years ago
I'm working on the same concerto at the moment. I'm nowhere near where you are yet, but I did notice a few times you and the accompanist fell out of sync, but hardly noticeable to the untrained ear in regards to this concerto. Bravo! I hope to get to the point sometime this year where I can do the same with my piano professor. :-) 5 stars!
PhilG380 3 years ago