June Recital!
JOIN US FOR our June Community Concert!
PROGRAM
LIVE
Alexander Weymann : Debussy: Preludes 1 No.VIII "La fille aux cheveux"
Rashmi Lahiri Schumann: Melodie from Album for the Young
Priya Viseskul : John Ireland: Menuet from Downland Suite
Michelle R Beethoven: 1st movement from Sonatina in G major
cdales Chopin Nocturne op.62 no.1
Bryan Sable : Repertoire TBD!
Nadja Beethoven: Pathetique Sonata ?
Monika Tusnady Mozart: Sonata
Sam Philip Glass: Etude #6
Judy Kuan Beethoven: Live or Recorded?
Andrea LeVan Brahms: Intermezzo op.118 no.2
Derek McConville : Lili Boulangeer: Cortege
Sindre Skarelven : Chopin: Ballade no.3
Recordings:
Letizia Tchaikovsky: "June"
Thurmond R Brahms: Ballade op.10 no.3
Heng-Pin Chen : Manuel Ponce: Intermezzo no.1
Sachi Edward MacDowell: Op.51 to a Wild Rose
Gail Starr : Bach: Prelude and Fugue Bk.1 in D major
Ching Lee Goh : Bach/Kempf: Siciliano from Flute Sonata
Fingers Lan : Schumann Kreisleriana op.16
Libby Craig : Bach: Siciliano
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General information and Guidelines below!
Reply to this topic with your name and repertoire selection if you would like to perform! If you don't know what you want to play yet, you can always just let us know your intent!
ABOUT TONEBASE COMMUNITY CONCERTS:
These events are NOT live-streamed OR recorded, but are private zoom meetings where tonebase members can share their hard work and perform for each other!
These concerts can be played LIVE, or if you can't attend, you can submit a recording!
This is a GENEROUS and SUPPORTIVE space.
Performing is one of the best ways to push yourself, and really evaluate the work/progress you have made!
Repertoire is open to any piece!
Memorization is NOT required.
You can play select movements, or even sections of pieces! No need to perform a complete work!
Playing the piano is fun, but sharing your music with others is one of life's great joys. Join in on the fun and cheer each other on!
FOR OPTIMIZING YOUR ZOOM SETTINGS PLEASE SEE THE SHORT VIDEOS BELOW!
Because we use zoom for these concerts, it is important to have the best audio and visual settings available!
Check out these videos depending on the device you are using!
FOR LAPTOPS/COMPUTERS
FOR IPAD/IPHONE/PHONES
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Since I won't be at home to play live, here is the P&F I've been TRYING to learn for many weeks. Book 1, D major. It still has to "bake" for a while longer, so I'll leave it alone and see if it magically improves on its own!
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Peter Golemme The longer you study these amazing pieces, the longer you will live!
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Peter Golemme I attended a lovely masterclass yesterday with Vanessa Latarche from the RCM in London, and sheās a Bach expert. She agrees with usā¦the double dotting IS fine and makes sense with how I was thinking about this piece. She also recommended a few additions P&Fs for me to add on, so Iāll read through those soon and pick more.
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Gail Starr Hi Gail, Among my many recordings of the WTC, I've observed that Wanda Landowska, Rosalind Tureck, Glenn Gould, Christiane Jacottet, Jeno Jando, & Andras Schiff among others overdot the 16th when it appears in connection with that 32nd note flourish in the subject. So you are in pretty good company! Most of them also play a straight 16th, like you do, when the dotted sixteenth appears in connection with the 16th note episodes (e.g. m9, m. 10, mm 17-21),.Gould, ever the iconoclast, over dots the dotted 16ths even there. Among the ones in my collections who don't overdot, are Richter, Ascheknazy, Pollini, Gieseking & Horszowski. (did I mention that I obsessively collect recordings of the WTC??) So I would say there's some pretty good authority on either side of this question, and really I don't think it's very controversial to say it's a player's choice here.
Let me know which other ones you decide to work on, I may have some equally obsessive observations or commentary about those and would love to hear your thoughts (& other players') on them as well. Presently I've got C Major Bk. 1 and B minor Bk.2 almost ready to upload, with C Minor Bk.1, B Major Bk.2, as well as F# minor Book 2, and then F# minor Book 1, next in the Queue, and G major Bk 1 in very early stages of blocking out the fingering. I've played several others over the years and hope now systematically to polish & record them, working inward from the extremeties (beginning of Book 1, end of Book 2), stopping along the way to do one in the middle every now & then.
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Peter Golemme I LOVE your over-obsessive commentary. It's exactly the stuff that interests me. And, serendiptously, every one of the P&Fs that you are preparing are on the top of my own list. Up next is the d minor that comes after the D major I just did in Book 1...then, literally ALL of yours, LOL.
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Gail Starr How did the masterclass go, Gail? I'm sure you played wonderfully!
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Gail Starr
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Gail Starr I did the D minor in a little college recital, now over 50 years ago,! I can still roughly play it through more or less now, and canāt wait to get back to it as part of this series. Dominic has a great lesson on this one in case you havenāt seen it
warning: the left-hand trills in the B, minor, book 2 are an absolute killer! ā-at least for meā/Iāve played that one off & on for about 20 years and still canāt get them right! Iāve just decided I need to let go of trying to perfect them, and record it playing them as best I can so that I can move on to my others
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Peter Golemme ooh, thank you for letting me know about Dominicās video!
Hey, if you could play something 50 years ago, if should be easy now
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Peter Golemme Michelle R Vanessa is SUCH a lovely person! I wish I could hang out with her for a relaxing afternoon. I learned a lot and she agreed with my ādoubled dottedā rhythms (which I was nervous about).
I honestly didnāt play very wellā¦but, I had a great time!
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Gail Starr I THINK?? Iāve improved over the past 50 years but itās still not easy!
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I just hope I donāt embarrass J during Vanessaās masterclass!
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Gail Starr The best teachers are only ever proud of their students, because they know quite well how challenging it is to put yourself out there and be vulnerable and exposed to criticism. He will also know how far you've come with the piece, and will be proud of the work you've put in and the hard-won improvements you've achieved. So I don't think there's any risk of you embarrassing him!
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Michelle R Michelle R Spoken as the true and caring educator that you are, dear friend!
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Iāll be traveling, and therefore unable to attend the concert live. But as I have played the first two Brahmsā Ballades for the previous two community concerts, I will submit the third Ballade in recorded form for this concert (opus 10, no. 3). I will be performing all four next month in a recital.
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Thurmond R Great job Thurmond. I must confess I've always had trouble understanding these pieces (Op.10), but your performance is helping me understand a little better what they are about. It's been a pleasure to observe your musical journey and rapid development through your several ToneBase offerings. Thank you for sharing them with us all!
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Peter Golemme Hi Peter. Thank you! Thurmond is heading off for a trip, so Iām answering for him. He said one key to understanding these pieces is knowing that they were written just as/after Robert Schumann entered the asylum. Varied emotions, nostalgia, etc. permeate the music.
Thurmond does seem to play them differently from most others. He didnāt actually like Brahmsā piano music until he found a recording of Ilona Eibenschutz playing Brahms. This was when Thurmond said he finally understood Brahms, and has come to understand him more and more as he learns this opus. This one, number 3, is the least polished of the set (at the moment). Heās been spending most of his time on number 4.
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Michelle R I had no idea that recordings of Ilona EibenschĆ¼tz's playing even existed! I must look for those. Thank you!
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Alexander Weymann Thurmondās teacher has encouraged him to start a catalogue of obscure old recordings! He really thinks Thurmond should seriously pursue musicology as a career path. Hereās one interesting recording:
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Thurmond R Very refreshing phrasing! Thank you for your keen insights.
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Hi all, sorry to say that i won't have anything to post for this concert but will be looking forward to hearing all your offerings. If the samples below are any indication, it's going to be a really wonderful concert, traversing a wide range of abilities and pieces. It is such a joy to have this forum available to all of us.
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Peter Golemme Can't wait to hear you next time, Peter. I still think back fondly to your jazzy Xmas playing. It was delightful.
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Gail Starr Thank you Gail. I have so much fun with that kind of playing, honed in years of playing in piano bars in my younger years. Maybe I'll post a few other samples here and there. It's much more of a struggle for me to learn and play the 'legit' (as we call it) repertoire, but my Tonebase colleagues, yourself included, are providing much inspiration for sticking with it. One reason I'm so intensely studying the WTC is that I hope to bring some of those baroque concepts of partimento, voice-leading and counterpoint, into my jazz/pop playing, to make it more interesting, and intricate, and to free me up from my standard riffs, tricks and schticks, which I had felt were getting a little stale.
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Peter Golemme oooooh- Iām a jazz guy in addition to my classical side. I love improvisation on standards (mostly ballades, swing and rag). I canāt hang with the bebop guys!
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Bryan Sable Hey Brian, welcome to ToneBase! You're going to love it. You could be describing me in your post. My core repertoire consists of those standards and my style is closer to swing or stride than to bebop or more modern styles. I hesitate for that reason to call myself a jazz player and say "jazz/pop" sometimes for clarification. But there's a lot worth learning from these advancedjazz guys and there are some great jazz tutorials on Tonebase from Jeremy Siskind and Eric Scott Reed among others. I really like your Tik Tok postings and hope we'll have an opportunity to hear many contributions from you here on ToneBase!
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Peter Golemme And YOU inspire me to work in more standards. I played in a charity con
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