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Debussy Reverie Sounds Like Your Lie in April Again

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  1. Vcpianoman

    Vcpianoman New Member

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    Hello all,

    Once again, recently recorded this popular piece with my H2 Zoom recorder. I was/am hesitant in auditioning this for the site, a) since I'chiliad not hearing the dynamic contrasts every bit much equally I would like...perhaps this could be due to the settings on the recorder or something. (and b) there are a lot of renditions of this work already listed. Anyway, any helpful comments would exist nice, but compared to the other recordings I hear others hither submit, I wish my dynamics changes tin can be heard improve...! :?

    Thanks, all!

    ~Vcp

  2. techneut

    techneut Active Member Piano Society Artist Trusted Member

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    Hehe, I was planning to record this one besides, never listen that there's already a handful of recordings on the site. Information technology's 1 if these pieces that are much more than pop that their quality warrants.

    This is non a bad recordings just it is marred by missing notes (two in the outset couple of bars, you should actually have restarted), some annoying little slips and misplaced accents, and some careless pedal usage. On the seconds page I thought things got rather bullish. This is a reverie with passion, sure, but it should not audio like Rachmaninov. The reprise was much better done, good job on that tricky section with the melody in the eye.

    With a scrap more polish and a gentler touch (but without dropping notes of course) this will be skilful. Do listen out for weak, missing, or too forcefully played notes, and treat them equally errors. The piano sounds a little sour in the treble, does it need a tuning ? The dynamics, though maybe they could exist a piddling improve, are not my master concern here.

  3. Hi Vcp,

    This sounds like it is coming forth well. My only suggeston is that you lot keep some of the tempos a bit more than under control. In that location is bit too much rushing at times, possibly.

    Kaila

  4. jlr43

    jlr43 Fellow member Piano Lodge Artist

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    I agree with the others that this one is coming along nicely, though IMHO it could utilize a off-white amount more work in places. The rather unpleasant, tinny quality of the sound doesn't help (are you using an upright?) nor does the out-of-tune piano.

    The first matter to consider is the tempo marker of "Andante sans lenteur." Yeah, it is a reverie, just it sounds a tad sluggish to me, at least at the offset (y'all exercise seem to pick it up a chip after). I'd say the principal things to work on are the dynamics, the overall balance, and the pedal usage.

    One dynamics instance is around measures nineteen-20 where the primary theme reemerges in chords. Annotation that this begins pianissimo and then gain through a crescendo to forte (at least in my score). I see no problem with irresolute a score'south dynamic levels when one has planned out an culling. But here, the phrase has nowhere to go dynamically and thus ends upwards sounding rather wooden and unshaped to my ears. In other words, y'all've learned the notes well, so now is the time to really work toward planning how you want the music to sound in your head. This is perhaps nowhere more than of import than in French music, which is IMO principally about orchestration and sound.

    The pedalling in general sounds uneven and dirty to me. Again, information technology might be a good idea to work out exactly where you want to pedal, in accordance with the harmonic changes, if you haven't already. This sometimes affects the balance too. If pedalling is uneven, a melodic line that you could otherwise make sing can become lost in the fog every bit information technology sometimes seems to in this performance, particularly in the left hand.

    The few slips are fairly few and far between and don't really bother me personally, though you might want to reflect on whether they're a habit. Rhythm is generally good, though in that location are a few places it could exist more exact. One case is near the end when you have those accompanimental figures at the height; there seems like a bit too much hesitation here.

    Anyhow, I remember if you focus more on the details of the operation, this could stop up sounding quite expert.

  5. Cheers for posting this recording. This picayune gem has been a favorite of mine ever since I start played it while studying the John Thompson Modern Method for the Piano back with my get-go piano teacher.

    Overall, the impression I have of the music is adept. I recall this is a fairly solid recording where you lot did some overnice things. Of grade, there is always room for comeback :)

    I liked your ending (from three'23" to the end) particularly. As others have said, I retrieve you could review your tempos throughout the slice every bit there were places where I felt you lot let the tempo get abroad from you. The other primal thing to work on, in my opinion, is the evenness of touch on throughout. There were some notes that stuck out a bit overmuch, although that could also be a outcome of the instrument you lot were playing for this recording.
    Thanks again for sharing. Now I feel like going to play something French myself!

    -Dave

  6. Vcpianoman

    Vcpianoman New Member

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    Thank you to everyone's replies! Having played this piece many times, it's squeamish to become constructive criticism on information technology at this fourth dimension...withal I'chiliad not sure the recorder or the instrument I'm playing on does it justice!

    i) I'm playing on a Young Chang PG-150, the smallest grand...and I know the audio is off; the treble is out of tune and some notes are sticking out. And I agree, the overall sound of the pianoforte is a bit off putting. Must call my technician... :!:

    Anyway, in response to the comments:
    For one, I just take to say that the score I'g using is published by "Belwin Inc." from Rockville Centre, Long Island, NY, at 40 cents. My onetime teacher was in her belatedly 90s when she gave me this edition, so mayhap some of the "niggling slips" are mistaken, as I've heard some notation differences from my score (i.east. m.67, 68 (LH), thou. 42 (RH) ...) Too, in listening to the other recordings of this piece already on the site, I practice recollect I am going a chip faster than others, but once again, at that place are opinions on that.
    To jlr43: As y'all wrote,

    , My edition says "Andantino sognando" ...and I've always learned that Andante is like a walking tempo, and and so, Andantino would exist faster than walking tempo (only not running!!) and sognando only means 'dreamily'. I just think there needs to be motion, which you and I agree.I call back that that phrase starts from m. 19, cres. and then decres., and then starts out softly at m.22 so cres. upwardly to m. 27 (the loudest notes in the phrase), with a subito piano to cres. to the aforementioned chords again in thou. 29. Merely, are you proverb that using those dynamics, it sounds 'wooden and unshapen'? I know that Debussy was very clear in his dyanmic markings... Perhaps the editor of my edition did something incorrect? Not sure what you're saying at that place...I know it shouldn't sound similar Rachmaninoff, yet the phrase leads to a forte. I have compared my version to the other renditions, and I recollect my 'forte' is weak compared to them. I don't really accept a booming bass at the moment, either.

    Also, I concur the pedaling tin be clearer. I'thousand actually doing the sustain pedal with my left foot at the moment (due to personal reasons), so I'll work on non making it so muddy sounding in places.
    And, at the cease, with the accompanimental figures at the top (aka the opening bars upside down), I am really playing them with the RH, and taking the liberty of taking time.

    But once more, thanks all for your comments. I will work on the details and endeavour to brand a more polished recording. Will expect until my technician comes by once more-that should help!

    ~Vcp

  7. RSPIll

    RSPIll New Fellow member

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    Apropos the usage of "andantino" equally a tempo marker, this has been a topic of debate for ages and ages. Depending how a composer views the term "Andante", "andantino" tin can be either slower or faster!!! Because Debussy used the marker "andantino sans lenteur", I would vote that he was because it to be on the dull side. I say this because he has qualified it with the "sans lenteur" which means either "without slowness" or "without delay" i.east. it still has movement. Consider that nosotros would hardly say in English "a fast walking step that is not ho-hum", but we could say "a slow walking pace that is not too slow."

    Fifty-fifty if yous determine that the initial tempo that you lot set in very beginning is right, then consider keeping that pace very regular without speeding up, that will requite it some of the latitude that a Reverie would point without it feeling rushed.

    Scott

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