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Originally Posted by Marc_C
The right hand figure isn't meant really to be measured.

I interpret it as, play that short note as short as you can while still having it be heard as a distinct note.

Yeah, I think that gets to the crux of the problem for me. If I'm aligning it to the LH note then it gets very tied into the arithmetic of it. If I play it slightly after the LH note, then it gets decoupled from the arithmetic in a way that feels a lot more comfortable. At speed that all sort of gets lost, but when working on the passage slowly I've had this weird discomfort with the idea that I might not be playing it properly.

Because the music is not aligned visually in the sheet music, it didn't really occur to me that they lined up until I decided to work out exactly how the polyrhythms relate and realised to my astonishment that they fall in the same place. Probably because I'd been playing it the other way so long, it felt unnatural and uncomfortable to line them up. And likely I play the semiquaver too short in the other sections by habit anyways when there's nothing to line it up to (like running semiquavers).

That said, there are so far three votes in favour of lining it up and one against, so I will definitely make the effort to see how it feels when they align after practicing it that way for a few days, and maybe that will get me to rethink slightly the other occurrences of the melody.

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Originally Posted by Jun-Dai
That said, there are so far three votes in favour of lining it up and one against, so I will definitely make the effort to see how it feels when they align after practicing it that way for a few days, and maybe that will get me to rethink slightly the other occurrences of the melody.

As you said, practically given the tempo, a fraction of second is not noticeable. The issue for you seem to be more related to how you practice it rather than how it sounds at tempo. I dont think you necessarily have to align arithmetically the two. It is more important that you play the RH as you want it to sound first and then fit in the LH quadruplets against that.


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I remember Robert Casadesus saying - a loooooooong time ago - that he keeps a copy of this on his piano at all times to check periodically for accuracy...

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I trust there is never a single recording be firmly defined as the best. Not only it is about a matter of personal flavour, but it's about human/music appreciation advancement : There is no the Best, there will always be Better.

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My favorites are a tie between Lipatti and Ohlsson.


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Wise men speak because they have something to say; Fools because they have to say something. (falsely attributed to Plato)
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One thing I find interesting in learning this piece this year is that there's no single passage as difficult as the hardest bits of the Wanderer Fantasy or Liszt's Sonata, but somehow there's enough of a continuous stream of challenging music to play that I would rank it with those in terms of overall difficulty.

None of the notes are that hard to play, but I find it's really hard to play (mostly) right notes at tempo for the entire duration of the piece.

What a glorious piece, though — some parts are just sublime.

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Originally Posted by Jun-Dai
....None of the notes are that hard to play....

Not really true ha ....but I get your gist.

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Originally Posted by newport



bio

I hadn't known of her before.

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Originally Posted by Mark_C
bio

I hadn't known of her before.





Last edited by newport; 06/24/22 12:11 PM.
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