I think the most amazing part of this performance is that this is one of the most stress-inducing pieces in the world, and you managed to maintain your composure throughout everything - even had time to settle your hair, and then we've got those 120% swag page turns which left me feeling speechless. Of course, we can't compare this to a stage performance, haha, that would be quite unfair...but the way you presented yourself, considering this context, was absolutely amazing, so well done for that
I'll also let you know that I broke a little on that B major section - so intimate and well-controlled, that middle voice. As a side note, I found that to be the best tempo you had for the whole recording, and the point where you were the most into the music.
The C major part was overwhelmingly passionate, so much so that you ignored all the minor slips and just blazed forward to the E major climax - absolutely beautiful, and I think this is the most powerful part of watching performances. You know, seeing people drop everything for passion ^^
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...which is why, if you don't mind some criticism - I agree with AA about playing everything generally a little faster. But, "faster" meaning "less cautiously".
Anyone who has played this piece knows that the first section is actually not that easy, especially when you're following the written note length. But I think, for all the A sections less the B major one, you were playing a little too carefully.
As a disclaimer, I'll be talking about the performance factor of things, hehe. I mean, playing technique is cool and all, but I believe that playing Liszt is all about making a performance. ^^ And sure, you can make a small, room-of-one performance, which is what I've judged this as so far...but this is Liszt.
I think the carefulness most clearly shows in the E major statement - you're taking a little too much time to find those G-sharp octaves, and those, actually, are the most showy parts of the piece in a performance sense. Just going full show-off mode and flying for those octaves, provided you don't miss too many of them, makes for a brilliant middle-climax that will stick in peoples' minds. You can probably afford to miss about two or three of those, but the leaps have to be leaps of faith, and that's where the magic is made
In fact, the two flourishes too: you can afford to make some mistakes, but you have to go as fast as you can, as confidently as you can. Or at least, build up to a point where you can spam a flourish with maximum power and maximum brightness, so the audience throws money at you. Then you get back to the emotional sections and make them fall to their knees with tears in their eyes~
As a rule of thumb, I think performing anything by Liszt is only meaningful if you put yourself in the shoes of a humble-bragging piece of shit that only cared about impressing the ladies and showing off. Not saying that Liszt was that, but he definitely wrote elements that looked amazing visually - so that's a whole new dimension of performing, hehe
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All that said, no one said you couldn't play a Liszt piece to enjoy the harmonies and subtle melodies, so this all comes from a performance angle! Just thought it'd be meaningful to share ^^
Excellent work, hope to see more of your stuff! And hope you don't mind me commenting like that haha ^^;
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Topic: Bloop's piano performances! - Liebestraum no. 3 (Read 4208 times)