THis is great - thanks for this! This represents one take with no corrections. Sort of an experiment to see what an actual performance would be like. My impression listening to this is that it is too loud, too fast in places, too aggressive. So I am working on that. Let me respond you your comments
I’d start the piece softer, it’s marked piano and it allows the crescendo to be more apparent as you go towards the Adagio.
Good point. I have always been hard of hearing so sometimes it is difficult for me to properly guage the dynamics
In measure 14, take a little breath before starting the descending triplets.
Yes, that's a good idea. I allows you to start the triplets much softer.
In measure 63, once again take a little breath before the descending sextuplets. In measure 65, those sextuplets are 16ths, make sure to clearly distinguish those from the 32nds before.
Same point as above. Oh gosh I never noticed that, you're right. I never listen to any performances when I'm working on a piece so I can work everything out by myself - but it gets me in trouble sometimes when I just totally miss the timing.
At the end of 74, hold that out a bit before releasing so that the transition into the chords feels less sudden.
The problem there is you really have to feel those chords as starting on the off-beat. This runs through the whole piece - you are always starting on an offbeat. THe final chord has to sound clearly like an off-beat.
In the crescendo leading to the end, make sure you don’t get too loud too quickly. I know from personal experience that the jump to that A is a challenge to keep soft.
You mean that first one in the RH at 93? Yes that's hard to control. There is a famous quote from a conductor whose name I cannot remember who said to the orchestra ""crescendo' - that means quiet". something like that
Hope this didn’t come off as too critical or offend you. You really did play great! But, we can always play better, and these are relatively small changes to make.
Not at all. I have 'concerns' about the final variation - the timing - my teacher (and apparently ever performer except for Gilels) sees it one way - I of course see it Beethoven's way. I don't think this section is the place to air it. But maybe it is.
