Hello? My name is Jeongmin Lee, who lives in Korea. There is one thing I want to ask you. When you listen to classical music, some have lower frequency than the standard, and some have higher frequency. When I hear it, I feel at peace! This frequency!... Can you tell me what HZ tuning this is based on?! In reality, on average, how many HZ do you use as a standard? I don't know exactly, but I've heard that 440HZ was used around 1955 and 442HZ was used in 1990... Anyway, I like that frequency on TH-cam so much that I have to boil the music based on that frequency!
very nice articulation. However to me way too fast. Especially for the piano.
6 ปีที่แล้ว +4
There is no music here, only a race against time to finish the piece as soon as possible, without hitting a wrong note. To think that so much practice and talent went into creating this utterly unmusical abomination of a performance... Both impressive and sad at the same time.
Slow down. Play slower than half of the tempo. Pay attention to phrases. For example, in the first measure, you a broken G major chord, so you have g-b-d-g'-d-b, and then d-b-g, b-g-d, as a little echo. This is like a little question, and then the next chord is like an answer to the question... It's not just a continuous stream of perfectly, mechanically executed notes. Enjoy the harmonic progressions. This is beautiful music, not just a mechanical exercise. In measure 5, there is a beautiful melody in quarter notes, it should be played cantabile, a bit more legato. For a good reference, look up Wim Winters, he plays it in an exceptionally beautiful way.
@ The prelude is written in 24/16 though. This is known to be the fastest time signature that Bach ever wrote. I do not see the broken chords as any type of melody - it is just harmony. As soon as one tries to show too much, the whole sense of harmonic progression gets lost, since every chord will take too long to develop. This is my reasoning for doing this, it has nothing to do with trying to play fast, it has to do with trying to show the harmony rather than the supposed melody (which to me doesn't exist in this particular prelude). Besides, this prelude works indeed way slower on a modern piano, but the rapid touch of the Buchholtz and the extremely short duration of the tone before it fades away makes it early impossible to play it slower and still make it into a logical unity.
@ On top of that, just because someone you like plays the piece differently, it doesn't make it the sole truth. We are all looking for finding a message in what we play, and doing our best to discover the truth about the composer's intentions. Writing such judgmental and mean comments is simply mean and makes no sense in a world in which anyways there is too little music and too little love for it.
6 ปีที่แล้ว +1
Of course, it comes down to personal opinion. My opinion, though perhaps expressed in rough words, was from the heart. I don't buy the "short duration of the tone" argument. A clavichord has even shorter duration than any pianoforte, and a very light touch. And yes, it definitely shows in your performance that you don't think there is any melody in this piece. And that is what I find very sad. It's not mean to point that out, if you disagree, that's perfectly fine: there is no law against bad performances (subjectively, of course). And I'm sure there is a large audience who finds your style appealing, good for them and for you. The velocity certainly is impressive, I don't think many typists could match it.
Love this prélude !
Bravo. Your hands glide over the keys effortlessly. Wonderful technique.
Thank you Miss Aurelia
Hello? My name is Jeongmin Lee, who lives in Korea. There is one thing I want to ask you. When you listen to classical music, some have lower frequency than the standard, and some have higher frequency. When I hear it, I feel at peace! This frequency!... Can you tell me what HZ tuning this is based on?! In reality, on average, how many HZ do you use as a standard? I don't know exactly, but I've heard that 440HZ was used around 1955 and 442HZ was used in 1990... Anyway, I like that frequency on TH-cam so much that I have to boil the music based on that frequency!
Adorable!
0:52 fuga
Fugue at 0:52
very nice articulation. However to me way too fast. Especially for the piano.
There is no music here, only a race against time to finish the piece as soon as possible, without hitting a wrong note. To think that so much practice and talent went into creating this utterly unmusical abomination of a performance... Both impressive and sad at the same time.
out of curiosity, what are your suggestions?
Slow down. Play slower than half of the tempo. Pay attention to phrases. For example, in the first measure, you a broken G major chord, so you have g-b-d-g'-d-b, and then d-b-g, b-g-d, as a little echo. This is like a little question, and then the next chord is like an answer to the question... It's not just a continuous stream of perfectly, mechanically executed notes. Enjoy the harmonic progressions. This is beautiful music, not just a mechanical exercise. In measure 5, there is a beautiful melody in quarter notes, it should be played cantabile, a bit more legato.
For a good reference, look up Wim Winters, he plays it in an exceptionally beautiful way.
@ The prelude is written in 24/16 though. This is known to be the fastest time signature that Bach ever wrote. I do not see the broken chords as any type of melody - it is just harmony. As soon as one tries to show too much, the whole sense of harmonic progression gets lost, since every chord will take too long to develop. This is my reasoning for doing this, it has nothing to do with trying to play fast, it has to do with trying to show the harmony rather than the supposed melody (which to me doesn't exist in this particular prelude). Besides, this prelude works indeed way slower on a modern piano, but the rapid touch of the Buchholtz and the extremely short duration of the tone before it fades away makes it early impossible to play it slower and still make it into a logical unity.
@ On top of that, just because someone you like plays the piece differently, it doesn't make it the sole truth. We are all looking for finding a message in what we play, and doing our best to discover the truth about the composer's intentions. Writing such judgmental and mean comments is simply mean and makes no sense in a world in which anyways there is too little music and too little love for it.
Of course, it comes down to personal opinion. My opinion, though perhaps expressed in rough words, was from the heart.
I don't buy the "short duration of the tone" argument. A clavichord has even shorter duration than any pianoforte, and a very light touch. And yes, it definitely shows in your performance that you don't think there is any melody in this piece. And that is what I find very sad. It's not mean to point that out, if you disagree, that's perfectly fine: there is no law against bad performances (subjectively, of course). And I'm sure there is a large audience who finds your style appealing, good for them and for you. The velocity certainly is impressive, I don't think many typists could match it.