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Beethoven Les Adieux, the passage beginning at measure 13 of the first movement Allegro. A variant occurs in the development that is also difficult. I suspect this will not come as a surprise to anyone who has studied this great sonata.
The a-minor Fugue of Book 1 of the WTC is a monster. Memorizing this work is one of its great difficulties, much less memorizing both books, as Andras Schiff, Glenn Gould and others in that elite company have. I remember reading somewhere that Schiff played both books from memory at Tanglewood when quite young.
Some of the Chopin Etudes are part of my ongoing work -- c#-minor, f-major and c-minor from Op. 10 and the fearsome g#-minor from Op. 25. I thought the lesson by Jeffrey Biegel on the latter was extremely good, as was his performance.
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Chopin’s second waltz in A flat (op34, no1). I’m trying to use 354 fingerings on those turns, such as at bar 34. Not sure that’s most efficient. Seems to work better with a little more curve to the fingers. Feels like I need a little more oomph on that 3 finger to make it come out fast and clean. Also just trying to come up with an overall interpretation of the piece as I’ve heard so many radically different versions.
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Chopin Prelude 21. Just started it a week ago but trying to learn at a faster/more disciplined pace then usual for me. The last 2 tonebase monthly challenges have helped my learning abilities for sure (having to go from piece selection to recording in just a few weeks). I don’t like to go too long without learning Chopin and was inspired to learn this after hearing Fei-Fei’s great lesson on Tonebase.
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This passage from Scarlatti Sonata K113, starting with measure 96, it is always tricky to do these hand crossing leaps at tempo. For some reason, this is so hard to get perfect every time in quick tempo. Similar passage in the first part is even harder. I have to remember what the next note is in the treble played by the left-hand cross-over otherwise I lose track. I can do it slow tempo fine. This is a fast piece. So, my solution is to start slower and accelerate which does seem to have a dramatic effect. Not sure if Scarlatti would approve, though.