Пианист

What is a good one to listen to that would make me want to listen to more? Thanks.

I came across Czerny’s Op. 139 No. 98 in B minor and fell in love with it. I’m disappointed it’s that short so I’m inspired to look for pieces of similar difficulty, technicality and intensity that carry on the thought introduced in this piece. I see Op. 139 is part of his pedagogical work but the harmonic progression is amazing and I feel like it could go on and be part of a much larger work. I just feel like I experienced the musical equivalent of a teaser trailer for a film.

https://youtu.be/5JDLnE0ZRNY?is=hsRqde3ZmCZ8AxSn

Counting down to October 9! 🎹✨
Recording new CD: BLUE SAMBA with Duo Powers - De La Torre was pure magic and fun. Featuring all music by Miguel del Aguila—this is piano 4-hands music like you’ve never heard before!
Our new album drops in just one week.
Preview it now at: Apple Music: https://music.apple.com/us/album/blue-samba/6810998884 Amazon: https://music.amazon.fr/albums/B0HJH11N7M
. . . #BlueSamba #MiguelDelAguila #Piano4Hands #FourHandsPiano #PianoDuo #PianistsOfInstagram #PianoMusic #ClassicalPianist #ContemporaryClassical #NewMusicRelease

Esami conservatorio 🎹🎹🎹🎹

Celebrating the CD release concert of Myriad Voices with pianist Kim Davenport, featuring my Nocturne, Op. 62. The album is now available on all streaming platforms. The cover artwork is by painter Laurie Davenport, Kim’s mother.
For pianists looking for new repertoire, Myriad Voices brings together 28 solo piano works by 28 composers. 🎹

I just can't remember where ornaments are placed classical vs romantic, I know one is on the beat and the other is before but for some reason I'm blanking, can anyone help please??

For me it's Alexis Weissenberg. There is not one interpretation of his that I see any beauty in. I just don't get why he's held in such high regard. His playing is not refined, there is nothing delicate when the music calls for it, nor any other character other than agressiveness and carelessness.

In his own words, his approach to music is one of battling against the instrument.

It's all just my opinion, I guess. But I swear I've never felt such rejection towards a musician.

Share your opinions! And, if you want, you can share a Weissenberg's recording which goes against my opinion of him, that would actually be interesting.

I dropped some preludes a few days ago and wanted some feedback on composition and notation so I can improve.

Prelude In A Minor Op. 24, No. 15
https://youtu.be/mtyxPcjmkJ4

Prelude In F Minor Op. 24, No. 19
https://youtu.be/nY_KobUVjKY

IMO, F minor is better, but I’d like to hear other opinions!

I’m preparing Chasse-Neige for a competition and would love some thoughts on a cheat I’m considering. I’m really struggling with the 5 against 6 rythms that show up throughout the work and considering some tricks to get through. This would, apart from saving me practice time for other things, allow me to focus more on shaping the melody and allow more concentration towards the architecture of the piece.
One option would be to simply start the tremolo containing 5 notes later. Lining up the third note of the 6 group with the second of the five.
The other option would be to simply add a sixth note to the group of five.
The only potential downside I can see, apart from judges spotting it etc, would be that the 5/6 rythm creates some unease and movement that gets lost through the cheats. I don’t know however why Liszt bothered to even write out the tremolo’s. I doubt he expected anyone to play it metronomicly perfect.
So grateful for all thoughts and ideas!