Відео

Hello David! Always a lovely surprise to hear from you. This piece appeared in my feed a few weeks ago, played by pianist Anna Ilchuk, and I liked it immediately and wanted to try it. Those trills in the middle were a bit gnarly for me though 😔 -> "trill drills are not a thrill". Since then I've been listening to some of the other etudes in the Op 8 set - they are a lot like Scriabin, and I really liked the performances of some of them by pianist Danylo Saienko, which are also somewhere here on YT if you're interested. I'm keen to try more of them, but as always.. so many pieces, so little time 😄 Keep well dude..

Hey there David 🙂! Always good to hear from you. Thanks for your comment, much appreciated and very glad that you enjoyed it. I was very happy with the way the CFX responded in this one - in the reprise the big bass chords were nice and full and the top chords were nice and "crunchy". Looking forward to some new pieces from you, keen to see what experiments you try with the CFX next 🙂 Keep well dude..

Hello @DeeCeeHaich! That is very interesting - thanks for pointing it out, I did not know.

i wouldn't take this as gospel; a similar phenomenon occurs with his prelude in c# minor, in which a chord in measure five seems to have been misnotated, as it is written differently in the russian first edition to subsequent publications. the "mistake" you're referring to may just be a matter of rachmaninoff taking some creative (or forgetful) liberty, as i'm assuming you're referring to the fact that he plays the Gb in the piano roll recording of him performing this piece. the first publication of his elegie includes the G natural, and many - if not all - other pianists over the years have played it as such. his performance was recorded on piano rolls much after the compositions initial publication, so he probably just forgot exactly how he'd written it (which makes sense, since he takes a lot of other creative liberties throughout playing the piece)

@stellbeau "the first edition had a g natural and all the pianists play it that way" because it was an editing mistake and the pianists didn't know better. The Gb is absolutely the only correct note, and melodically it doesn't make sense without it. A properly trained composer would even spot it as an error even if they've never heard of the Gb being a possibility. It wasn't a creative liberty in the slightest, it is simply a fact that the editor confused the lack of a courtesy accidental to mean it should fit the harmony of the chord

@@DeeCeeHaich can i have a source for this? the phrase beginning in the seventh measure after the lento section, being a reference to the beginning of the piece, introduces the G natural in both the left and right hands, which is maintained until the callback to 1:39 - 1:48 (at 4:35). this entire section, up until the climax and conclusion of the piece, can be seen as a modified "summary" of the main refrain (for lack of a better description, you know what i mean). it would make sense with a Gb just knowing rachmaninoff and his work, but considering the context and the other G naturals around it, i'm not sure it can be classified as a notation mistake. happy to eat my words if you have a credible source :)

@@stellbeau there's no real source for this, because noone asked rachmaninoff himself, it is simply something you can tell by ear if you're trained well enough.

Hello David 🙂! Really great to hear from you again - hope you had a nice break over the festive season. I'm still learning the basics of compression - there are quite a few settings to fiddle with, and often what works for one piece doesn't work as well for another. I've also hit the limiter max a few times - sometimes I can solve the problem by slightly adjusting the velocities some of the notes in a chord where this happens, but I have to be careful so as not to upset how the chord should sound. It's hit and miss though, so lately I've been slowly/gently lowering the close and ambient mic levels and then fading them back in when the problem part has passed. I'm intrigued by your eq curve. I remember from stage work that the sound engineers got the best results with a curve that looked like an inverted Bell curve (mids roughly from 250-2000Hz), whenever they boosted this range, the piano sounded really harsh and was difficult to control - did you find this in your trials at all? Lastly, I used una corda through most of the piece, lifting it in only a few places where stipulated by the composer. It's the first time I've found a piece that required as much una corda pedal as this one - my teacher always advised caution with the pedal, and not to use it too liberally. Keep well!

Hey there David 🙂! Thanks for your comment, much appreciated - very glad you enjoyed it. Rachmaninov has quite a few of these introspective pieces, they are a real treat to listen to!

Привет Олег 🙂! (Простите за неформальность, но я не знаю вашего отчества). Большое спасибо за добрые слова, я очень рад, что вам понравилось произведение.

Здравствуйте Олег 🙂! Большое спасибо за добрые слова. Да, Fauré - интересный композитор, и мне очень нравится его музика (sorry for my bad Russian..)

🙂

Hello there David 🙂! Thanks so much for your kind comment - much appreciated.

Haha just a little 🙂although I find the atmosphere in this one is a bit more desolate.

Hey there David 🙂! So very glad to hear that you upgraded, you definitely won't regret it! For the settings, I cribbed some values from pianist Keunyoung Song (here on YT), which he posted at www.pianistkeunyoungsong.com/2022/04/how-to-make-garritan-cfx-sounds-better.html. I also looked at the settings used by Rach3Master (also here on YT), which she posted at forum.pianoworld.com/ubbthreads.php/topics/2780276/re-garritan-cfx-concert-grand-full-settings.html However, after I'd made these changes, I didn't quite like the sound so I mostly reverted to the factory defaults. So now I use 1) International A440 with Classic (Full) mic perspective 2) Piano tab: Pedal Noise, Sympathetic Resonance and Sustain Resonance all at minimum 3) Studio tab: No reverb, "Performer" Stereo Image, no EQ enabled on the close and ambient outputs 4) Advanced tab: Max Engine RAM 16GB, Disk Pre-caching 256KB, 128 voice polyphony, dynamic range 50% with Re-pedalling and Partial Pedalling both enabled 5) Mic settings: Close and Ambient mic both at 0 (max), the master mic I control via MIDI and set to 100 (range 0 - 127) - I usually don't touch these during a performance because it does alter the character of the sound quite noticeably I apply very light reverb externally via the DAW. I found that adding compression to the piano output also spoils the sound (although I'm probably using compression wrongly 😄) Hope this helps - looking forward to some more pieces from you!

Thanks for sharing these settings - much appreciated! Yes these are great choices for settings, not straying too far from the Classic 00_Default preset which already sounds quite good. I *thought* I detected a small amount of reverb. That works well as a subtle way to round out the sound, expand the stereo field slightly, and finesse the bloom - without sounding echoey (if that's a word!). Good advice on the mic fader settings. MIDI volume 100 appears to map to about -4.5 dB on the Master mic fader. I turn off the LIMIT button - I've read of some issue with having it on, though I'm not sure what it is. Agreed on turning Resonance and Saturation all the way down - they do tend to color the sound. On the PIANO screen, what are your settings for Room/Release Decay, Room/Release Volume, and Release Crossfade? I'm using the 00_Default settings (eyeing the knob positions) 100, 81, and 50, respectively.

Hey there David, Glad these settings helped as a starting point for you (although I'm no expert with these things 🙂). For the three settings you asked about, my values are the same as yours. I forgot to mention that I'm using the "Open" lid position and "05_Default" for the velocity curve. I've left the "Limit" button on but I watch carefully to see that the red light never turns on during playback.

Hello Emiliano 🙂! Glad you enjoyed this one. The other romance is called "Romance Hongroise" from what I could tell. I could not find it in imslp though, but it looks like you can request a copy from the National Library of Australia, for example -> catalogue.nla.gov.au/catalog/8050985 Hope that helps, and all the best with your search!

Hello there @softkadeh, Thanks so much for your kind comment, it is much appreciated. I use a Roland RD-700 (it's getting old now 🙂) as my MIDI keyboard

@ making this much of technique on sth like RD700 is like mirracle !!!! Awesome! Great performance really

Hello David! Thanks so much for your very kind comment, it is much appreciated. Glad you are enjoying these pieces - a few of them are a bit "hit and miss" but I learn as I go along 🙂 I don't think you will regret upgrading - the Garritan is a joy to work with even though it's quite old now. It responds pretty much as you would expect a real instrument to, no funny MIDI programming or workarounds so you never have to worry about it and can focus on the music itself. I'm constantly amazed by it; I've tried a variety of styles/genres on it now and haven't hit a limitation yet..

@EmilianoManna Thanks so much for your kind comment - it really is a lovely piece, very enjoyable to play. You're so right about the Garritan CFX 🙂- it continues to amaze me with how it responds to all these pieces and styles!

Hey there @Gailrstarr! Thanks so much for your comment. Ooooh you're in for such a treat with this sonata, Haydn's music is so very enjoyable to play 🙂.

@@1MuddyDogThanks for the encouragement!

Hola Jose, como estas 🙂? Thanks for your comment man, very very glad you enjoyed it

Hello Jose!! So very lovely to hear from you again, what a wonderful surprise! Thanks so much for your comment, very glad you enjoyed it

Hi Milica 🙂! Thanks so much for your kind comment, glad you enjoyed it. You're right about the title, I have corrected it now

Hey there abmusicfrance 🙂! Thanks very much for your comment, it is much appreciated. Very glad you enjoyed the piece

Hello Caceres, Thank you so much, and a very warm welcome - hope you will enjoy all the piano pieces to come

Hello abm 🙂! Thanks so much for your comment, very glad you enjoyed this short piece. Yes, the Garritan CFX piano has a very nice sound, so far it has behaved exactly like a real piano would, no matter what I've thrown at it. It's really nice to work with!

Hello Jose 🙂! Thanks man, very glad you enjoyed it.

Bonjour abmusicfrance 🙂! Thanks so much for your kind comment, very glad you enjoyed it. Coincidentally, I am reworking this one at the moment with the Garritan piano and CSS strings, and hope to have that out soon, so please check back here again in a few days' time..

@@1MuddyDog I subscribed, can't wait to see this

Thanks so much! I hope you will enjoy it

Hello there Jose 🙂! Thanks for your comment - very glad you like the sound. This Garritan piano is full of surprises (even though it's quite dated by now), and so far it's handled just about everything I've thrown at it. It really has been great to work with thus far 👏🏻👏🏻.

It really is a nice piano to work with! Not to worry, lots more on the way 😃

Thanks man, very glad you enjoyed the piece!

Hello Mads 🙂! Glad you enjoyed the piece. It's very nostalgic! There is actually a very nice version of the piece on IMSLP: imslp.org/wiki/Evensong_(Martin%2C_Easthope) Under "Arrangements and Transcriptions" they have the full orchestral version and parts, of which the "Piano-Conductor Score" is also a nice piano reduction (much richer than what I played here, and with many nice passing notes). Hope that helps, and thank you again for listening!

Thank you so much for your kind comment, glad you enjoyed it 🙂

Hey there, thanks man, much appreciated! It's Brahms' arrangement though 😁. Getting the orchestra parts to sound reasonable is quite hard work - lots of playing around with note velocities, volume and expression curves, all just to try and recreate what humans do naturally..

@@1MuddyDog ha, I probably misused the word arrangement… production would have been better. Anyway, love the orchestral performance and programming. Great job!