Pianophilia

Attached a short Fantasia 'Dumanie slepca' by Filipina Brzezińska (née Szymanowska), 1800-1886.

I've scanned some more Zarzycki, hope it's new to you all.

Mike

Attached a Flisaki Krakowiak by Adam Münchheimer (Minchejmer), who lived 1830-1904.

FW190 wrote:Attached a Flisaki Krakowiak by Adam Münchheimer (Minchejmer), who lived 1830-1904.

Thank you FW190....you are coming up with some nice yet rare Polish pieces. I for one am very grateful.

I hope you keep finding and sharing more

Malcolm

Here comes another one. A Dumka by Feliks Jaronski (1823-1895), No.4 of his cycle Chants d'Ukraine.

fredbucket wrote:

fleubis wrote:Would anyone happen to have the score to Leschetizky's Etude Heroique, Op.48 No.3 ? I'm listening to Nyiregyhazi play this piece on YouTube in his usual spectacular way and am trying to discover what he saw in this piece.

It is available on IMSLP here - http://imslp.org/wiki/3_Piano_Pieces,_O ... Theodor%29

Regards
Fred

Thanks Fred! I looked there previously, but seems I misspelled the composers name. Found a few other of his pieces there that I didn't have also. Now that I see the score, as I suspected, this performance is his own transcription http://www.youtube.com/watch?v=DTcS1YKZDVI

FW190 wrote:Here comes another one. A Dumka by Feliks Jaronski (1823-1895), No.4 of his cycle Chants d'Ukraine.

Thanks for uploading this most interesting piece. I am fascinated by the difficulty of it. There seems to have been an element in the training of pianists in the first part of the 19th century that equipped them to manage passages like pp6-9 of this with ease, and there are a lot of studies (eg those by Kessler) and salon pieces that require players to cope with page after page of this sort of unrelenting rapid arpeggio figuration, which would be quite strenuous on a modern piano (at least for me!).

Phillip210 wrote:

FW190 wrote:Here comes another one. A Dumka by Feliks Jaronski (1823-1895), No.4 of his cycle Chants d'Ukraine.

Thanks for uploading this most interesting piece. I am fascinated by the difficulty of it. There seems to have been an element in the training of pianists in the first part of the 19th century that equipped them to manage passages like pp6-9 of this with ease, and there are a lot of studies (eg those by Kessler) and salon pieces that require players to cope with page after page of this sort of unrelenting rapid arpeggio figuration, which would be quite strenuous on a modern piano (at least for me!).

I am always very interested in here comments about some of the technical difficulties many of these pieces impose on us poor 21st Century players. While this arpeggio figuration looks difficult, it is not quite as hard as it seems. As with any arpeggio, the most difficult part is usually crossing the thumb, and notice that this is often eliminated here by means of a repeating note allowing the 5th finger to change with the thumb or vice-versa. This is effective piano writing, as this figuration would have been much more difficult had the repeated note technique not been employed. Also, in the 19th century, many players did not maintain a smooth legato line and covered the gaps with pedal (pretty sloppy, if you ask me!). Both techniques are employed here. Consider Chopins Op.10 Nr.1 Etude which is extremely difficult to play and has none of this repeated note business compared to his Op.25 Nr.12 which has this repeated note technique and is actually not all that difficult to play.

Three pieces by Zygmunt Noskowski (1846-1909).
BW

fleubis wrote:

Phillip210 wrote:

FW190 wrote:Here comes another one. A Dumka by Feliks Jaronski (1823-1895), No.4 of his cycle Chants d'Ukraine.

Thanks for uploading this most interesting piece. I am fascinated by the difficulty of it. There seems to have been an element in the training of pianists in the first part of the 19th century that equipped them to manage passages like pp6-9 of this with ease, and there are a lot of studies (eg those by Kessler) and salon pieces that require players to cope with page after page of this sort of unrelenting rapid arpeggio figuration, which would be quite strenuous on a modern piano (at least for me!).

I am always very interested in here comments about some of the technical difficulties many of these pieces impose on us poor 21st Century players. While this arpeggio figuration looks difficult, it is not quite as hard as it seems. As with any arpeggio, the most difficult part is usually crossing the thumb, and notice that this is often eliminated here by means of a repeating note allowing the 5th finger to change with the thumb or vice-versa. This is effective piano writing, as this figuration would have been much more difficult had the repeated note technique not been employed. Also, in the 19th century, many players did not maintain a smooth legato line and covered the gaps with pedal (pretty sloppy, if you ask me!). Both techniques are employed here. Consider Chopins Op.10 Nr.1 Etude which is extremely difficult to play and has none of this repeated note business compared to his Op.25 Nr.12 which has this repeated note technique and is actually not all that difficult to play.

Thanks for those interesting observations. Maybe I am just lazy!