Hello everyone. I've enjoyed listening to all of you show off your mad skillz. Today I had a rare moment to myself and got one piece in my first take. I'm sure you can guess which one it was.
Some brief comments -
Bea, I feel that once you get going on a piece, or a major section of the piece, your timing is getting much better, more consistent. In particular I liked that second part of Meissonier where you alternated the D# and E. Sure, it was a little staccato, but it sounded steady and consistent. I think your next challenge is to incorporate that steadiness into the start of each section, such as the E-D-C-and B of measure 1. Also, while even in the absence of written rests a minor pause between repeated sections can be musical, it should only be minor, so I'd keep it to a very brief pause. Finally, you may already know this, but I think you may have hit a wrong note at 0:43 as well as the slip at 1:05. Still, it's a long piece and you did very well.
William, you played very skillfully - I rarely saw you look at your left hand. Well done. I found your tempo to be on the fast side, esp. for the Sor piece, which to my ear doesn't lend itself to a faster pace as well as the other one. You already noted the missed repeat on Meissonier, but you also had a really good D#/E thing going on that one. I think I need to lift up to kill the D# note value, I'm not sure I've been doing that in practice. Also, you might want to avoid the unnecessary string noise after you completed the Sor piece. I don't have much else to say, other than, perhaps, if you're going to show your face, perhaps put some emotion into it. [of course, this comes from the guy that Stefan noted looked quite robotic - while laser-like focused on my left hand]
Stefan, once again my comments are akin to the designer of the Yugo (sorry) critiquing the designer of the Porsche 911. That said, you play with a fluidity and passion that I think we all envy. Heck, you probably practice with a passion we should all emulate. I agree with the comments about string noise - maybe you were just getting carried away. With respect to the creative license you took with Meissonier, well, it was executed very well (not entirely consistently (the last repeat sounded more "play it straight"), but you may have meant that) - however, to my ear, there comes a point when rubato is no longer a slight variation in tempo that enhances the musicality of a piece, but a significant one which detracts. And sad to say I was not thrilled about how far outside the lines you colored. However, it may yet grow on me. I can see how getting bored with playing these would almost drive one to do something different with the piece just to keep from going crazy. Perhaps I will get there myself before long.
There's a decent chance I won't post until Monday; I am going out of town again soon, and finding peace and quiet isn't easy while the kids are off from school. I know a 3rd grade teacher here who would understand this quite well.