Thank you dear Alfor for todays generous offerings. I am finding that somewhere on Aug 18th I acquired the DELANNOY piece, it doesn't seem to be from here at Pianophilia. Anyway it certainly sounds very French to my ears and a pleasant lark to play.
Rach 3? Revenge of the large hands indeed! The Brahms needs more help than Rach in this instance, at least.
fleubis wrote:Thank you dear Alfor for todays generous offerings. I am finding that somewhere on Aug 18th I acquired the DELANNOY piece, it doesn't seem to be from here at Pianophilia. Anyway it certainly sounds very French to my ears and a pleasant lark to play.
Rach 3? Revenge of the large hands indeed! The Brahms needs more help than Rach in this instance, at least.
You are welcome!
I in fact did already post the Delannoy in 2011
I promise to use pianophilia's search facility in the future
P.S. I just searched for Stradal's arr. of Bruckner's Quintet in F. I was of the opinion that I DID post it, but I can't find it on pianophilia.
But tomorrow I will definitely post an arr. of the Adagio from the Quintet by Schalk/Wöss.
Last edited by alfor on Mon Sep 09, 2013 9:17 pm, edited 3 times in total.
Best regards, Alfor S. Cans
Music is a higher revelation than wisdom and philosophy (Beethoven)
1) Sonata op. 2, end of first movement
2) Sonata op. 2, beginning of third movement
3) Piano Concerto op. 15, some bars of the third movement
Brahms fingering.pdf
The Revenge of the Large Hand
(Die RACHe der Großen Hand)
Rach 3,3 corr.pdf
For Brahms page 10, I thought many would have played those leaps with left hand as octaves, for example, the left hand could be 4-1-2-1/5 3-2-1/5 etc
The problem is, the right hand sounded different from what Brahms intended.
For Brahms Piano Sonata 3rd mvmt,
my fingering for all four fragments is 53(1)-42-31-25. This is not ideal, the only advantage is consistency for all fragments.
Please have more suggestion, I am curious how others view this passage.
For Brahms Piano Concerto,
my fingering is to use right hand to play only one note, ie F F F and I still play the Bflat with left hand (2). All the while letting the left hand play the chord (this involved wide spread esp Bflat-E) but I think this is closer to what Brahms intended, the wide spread necessitate a jump, that slight delay in execution.
Like I explained in my earlier post, on page 10, if I use left hand to play all the octave notes (Fsharp, Csharp, A Fsharp etc), the distortion of the right hand figures may not sound like what Brahms intended.
my Brahms fingerings are mere suggestions. You may or may not use them!
Sonata page 10:
Most editors play the first notes of each group (A, F sharp, C sharp, etc.)
as an octave with the left hand alone.
Piano Concerto:
I honestly think that Brahms did not „intend“ anything here. So I am not sure that he liked the broken
sound of the the left hand better. I merely wanted to show two solutions without any „broken sound“.
(B. first used the material in a Sonata for two Pianos, then he tried to make a Symphony from it.
I don't know if the bars in question are included in these first sketches.)
best regards
alfor
Best regards, Alfor S. Cans
Music is a higher revelation than wisdom and philosophy (Beethoven)
my Brahms fingerings are mere suggestions. You may or may not use them!
Sonata page 10:
Most editors play the first notes of each group (A, F sharp, C sharp, etc.)
as an octave with the left hand alone.
Piano Concerto:
I honestly think that Brahms did not „intend“ anything here. So I am not sure that he liked the broken
sound of the the left hand better. I merely wanted to show two solutions without any „broken sound“.
(B. first used the material in a Sonata for two Pianos, then he tried to make a Symphony from it.
I don't know if the bars in question are included in these first sketches.)
best regards
alfor
Dear Alfor
I like all your suggestions.... I am merely putting up my post as discussions.... Sorry, if I sounded rude.
The Brahms needs more help than Rach in this instance, at least.
