Week 2: Amplifying your message!
Hello and welcome to the WEEK TWO Main Thread for this challenge! 
Alright everyone - this is the thread where we'll all be posting our daily updates.
Make sure you've read the rules before replying (<- click)
Twice a week between January 30 - February 6 I hope to be reading your daily updates in this very thread right here!
Here is this week's assignment!
1. Specify at least ONE aspect of the piece that you love most! (Ideally write this down here in the forum below!)
2. Ask yourself this question: "How do I AMPLIFY the experience of this moment for the audience?"
3. Consider your answer, write it down below, and then let us know how you are trying to implement this!
4. Submit your practice video below!
Example:
I love Debussy's piece "L'isle Joyeuse", especially the moment of the climax where the music transposes from A major and then briefly F major and then to B-flat major (measure 236). I need to focus on saving my reserves of energy for this passage, and have a fast speed of attack, plus a rich and explosive Left Hand pinky for that bass!!
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I love Brahms Op 118 No 2 because the warmth, melody and the feelings it evokes are timeless. My goal is to convey that genuine warmth so that it becomes irrisitable to the listener. I am trying to bring out the different voices and colors to help cause this effect.
Here's a link to my practice today:
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Darrell how wonderful! You absolutely manage to communicate this warmths! Your playing was truly irresistible to me. Made my day!
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Andrea Buckland Thank you for your kind words and observations Andrea! I look forward to hearing you play as well!
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Darrell wow. Already a very moving, rich and colorful performance.
I like your piano. What kind is it?
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Michael Thank you for the encouragement Michael. It's a 5' 6" grand made by Estonia.
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Darrell Beautiful, heartfelt playing.
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Gillian Thank you Gillian! I have so much more work to do but having fun!
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Darrell Jenkins That was pretty fabulous!
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Vidhya Bashyam I appreciate your kindness Vidhya! I feel like there's still so much work for me to do with it. Especially in the section right after the piu adagio - very challenging. Any advice would be much appreciated.
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Darrell Jenkins Wow, Darrell - that performance put a big smile on my face! I enjoyed the tempo you chose, and felt the dynamic contrasts added beautifully to the emotions/colors in the piece. I look forward to hearing what else you can do with this. Bravo!
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Michelle R It makes me happy that you enjoyed it Michelle! Thank you for being specific about tempo and dynamics. I will keep working hard to improve it in the days ahead!
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Darrell Jenkins Thanks for this video, Darrell! There’s a delightful clarity to your playing that is rare in the performances I’ve heard of Op. 118. It suits Brahms and this particular work beautifully — all the voices comes through so nicely. Looking forward to hearing more.
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Libby Craig I appreciate your kindness and encouraging words Libby!
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Darrell Jenkins that's very beautiful and very heartfelt playing!
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Natalie Peh Thank you Natalie, I appreciate your comments! I can't wait to hear you play Beethoven No 14.
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Darrell Jenkins Very musical and moving playing, you shape beautifully these gorgeous melodies; a compelling Brahms!
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Juan Carlos Olite Thank you so much Juan!
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Darrell Jenkins that sounds really good, really bringing out the warmth of the harmonies!
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Derek McConville Thank you Derek, I appreciate that! By the way I heard your Gershwin on your YouTube, nice work!
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Darrell Jenkins thank you!
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Darrell Jenkins I especially agree with Libby Craig, the music is so clear, and not 'sappy' as it is sometimes played. Great tempo!
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I love the way Beethoven’s Sonata 12 Opus 26 Andante con Variazioni, while it offers passages of great flowing lyricism, is made up of a string of brief, very rhetorical statements, many designed to shock or surprise. These components challenge the continuity of the music on the localized, measure-to-measure level as well as from one variation to the next. In some variations the theme is deconstructed or displaced, rendering it barely recognizable.
My goal is to AMPLIFY the rhetorical character of each component, whether it be a 2-measure phrase, or an entire variation. I want to deliver the lyrical character (as even that is a “rhetorical component”) when it is offered, but also to acknowledge that much of the music seems intended to be “in your face”. The challenge will be to maintain a sense of propulsion towards selected destinations and to clarify the moments of arrival. I plan to make liberal use of rubato, strong, localized dynamic contrast, and contrasting articulations towards that goal.
And of course, basically I still need to learn the notes, and make the music more better.
May the force be with me.
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Michael "Make the music more better." Yes, yes, this seems always to be the quest, doesn't it?
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Michelle R Indeed. And truth be told, it’s the more honest and less pompous version of what I concocted in the prior two paragraphs.
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Shostakovich's Fugue in A Major (op87 no7) gives me an innocent childlike impression - may be a child wandering through a happy dreamworld. I love the soft, shimmering sound quality and the woven texture of the lines, then the burst of joy as the piece reaches fortissimo.
I would like to achieve that soft shimmering effect whilst still keeping the clarity of the voices. I try to listen carefully of each voice line as I work through the piece, and try not to over pedal.
I'm currently about 3/4 through the piece at slow tempo ... hope to post my progress update soon.
