Yes, ou are right, the #12 is the most difficult of Sor's Opus 60 pieces I've encountered so far, the reason being the counterpoint measures towards the end. But it has a strong "character", if I may say so, with beautiful melodic lines and which gives me particular pleasure to play, even if almost always with mistakes and blurred notes here and there. I've listened to your rendition and I think you are being too hard on yourself
. I wish my first rendition was as good as yours, Yisrael. Nonetheless, I would like to add some comments in the hope that they might be of value to you.
To begin with, I would say that, in spite of it being written during the classical period, in this particular piece one should not, perhaps, stick too much to the selected tempo. Let me try to explain what I mean by this. This piece has two sections. I have nothing to say concerning the way you play the 1st section, my observations concern the 2nd section and how to accent its phrases and melodic lines. In the 2nd section, it seems to me, we have three parts (I think one can call them phrases
, no?). The first part is composed of measures 9-12. In this part, I sort of start slow and increase the speed and volume until I reach a climax in the high C of measure 11, slowing down afterwards until the very defining D in measure 12. There should follow a slight pause, to let the D ring a bit, before you proceed into the 2nd part, which starts with the low D still in measure 12 and goes up to measure 16, with the D as the pedal point. You will notice that the melody in this part, though being played along the 4th and 3rd strings, sounds similar to the melody in the first part so one should play it, in terms of speed, volume and highlighted notes, exactly as you did before. There follows a very brief pause before you start the 3rd part of this section - measure 17 onwards. In this part, during the counterpoint measures you can also play up to a climax in the third beat of measure 20, pausing here slightly (or not) before tackling the rest of the counterpoint. Finally, please have a second look as how you play measure 23, it is not sounding nice to me, the thirty-second note has to be really fast and the last three sixteenth notes also.
To finalise my comments, I think you do well in moving forward into Sor's Opus 60 #13 (very nice as well), provided you continue playing every day the #12 (as well as the others). In doing so you will notice improvements along the time. I did...
So, now, the table of posted studies is the following:
You do not have the required permissions to view the files attached to this post.