Kullak. Violen - Nachtgesang Op 93 No 2 [Garritan Yamaha CFX Piano]

A restful piece with a nocturne-like character. It is reminiscent of both Liszt and Mendelssohn. The expressive melody is supported by harmony that is quite modern for its time, and is transformed through some dramatic passages leading up to and then working away from a central cadenza.
I hope you will enjoy it, and thanks as always for listening 🙂!
Wishing you well over the festive season 🎄.
Performance Notes:
1. Testing out some compression with this one - it is mostly soft in character, but has a full middle section, and without compression the soft parts would be too soft when the volume is adjusted to handle the loud section without clipping. Hopefully I didn't destroy any of the piano transients in the process 🙂
2. If you are listening to this through headphones, please take care - the middle section does have a full sound

[@olegreztsov9798]

Великолепное произведение и прекрасное исполнение!!!

[@1MuddyDog]

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

[@davidmartin123]

Very nice. Great dynamics. The compression seems to work well. I've been fiddling with EQ to raise the mids to boost the C4-C5 range some. But in doing so, I do hit the limiter max and must dial back the mic levels. One question - did you use una corda as written at the beginning? :)

[@1MuddyDog]

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!