What Beethoven piano piece are you currently playing/practising??

scottg4life

Yeah, so I just want you guys to tell me and make this topic BIG!!
I'm currently practising Beethoven Sonata No.25 in G Major Op.79 1st Mov. (Presto Alla Tedesca) for my Grade 8 Exam 2012 (Royal Irish Academy of Music). Thinking of becoming a pianist when I'm older...

So yeah tell me what beethoven piece you are playing or practising?

colours of a cowboy cliche

Sonata in C minor op. 10 no. 1, movements 1 and 2 for my diploma. Love Beethoven!

scottg4life

colours of a cowboy cliche wrote: »

Sonata in C minor op. 10 no. 1, movements 1 and 2 for my diploma. Love Beethoven!

For RIAM Diploma is it? Did you already do the senior certificate? I don't know anything about the Grades after Grade 8 so would you be able to give me some information?
And Beethoven Op.10 No.1 is a brilliant piece. Are you not doing 3rd Mov. as well?3rd Mov. is my favorite!
Hope to see a reply.

colours of a cowboy cliche

Yes, its for the RIAM diploma. I did the senior cert a good few years ago but to be honest there's quite a large gap between the senior cert and the diploma in terms of difficulty. I've mentioned it another thread, but if I had to do it again I would've done ABRSM grade 8 and then the diploma because I think they're more similar in terms of ability. Although, I've heard that the RIAM has upped the difficulty level of their graded exams in recent years so maybe the gap isn't so apparent anymore.

The senior cert isn't any different to a graded exam to be honest - my teacher used to refer to it as 'grade 9' and that's what it is really. For the diploma, there's a performer's diploma and a teacher's diploma. The performance one is more challenging repertoire-wise and I think you have to play (from memory) for 40 minutes. The teaching one is 30 minutes but there's viva voce questions also regarding piano pedagogy, teaching etc. There's also two written theory papers and an aural exam for both.

In terms of repertoire, there's list A (baroque), B (sonatas - mostly classical), C(Romantic), D(20th century). The teacher's diploma requires you to pick three pieces, one of which has to be from list B, while the performer's diploma requires the three pieces as above as well as a fourth own choice piece.

Do you think you'll go further with your music studies?

Back to the Beethoven. I've learned the third movement but I only need to do the first two for the exam. The first movement is my favourite one.

scottg4life

colours of a cowboy cliche wrote: »

Yes, its for the RIAM diploma. I did the senior cert a good few years ago but to be honest there's quite a large gap between the senior cert and the diploma in terms of difficulty. I've mentioned it another thread, but if I had to do it again I would've done ABRSM grade 8 and then the diploma because I think they're more similar in terms of ability. Although, I've heard that the RIAM has upped the difficulty level of their graded exams in recent years so maybe the gap isn't so apparent anymore.

The senior cert isn't any different to a graded exam to be honest - my teacher used to refer to it as 'grade 9' and that's what it is really. For the diploma, there's a performer's diploma and a teacher's diploma. The performance one is more challenging repertoire-wise and I think you have to play (from memory) for 40 minutes. The teaching one is 30 minutes but there's viva voce questions also regarding piano pedagogy, teaching etc. There's also two written theory papers and an aural exam for both.

In terms of repertoire, there's list A (baroque), B (sonatas - mostly classical), C(Romantic), D(20th century). The teacher's diploma requires you to pick three pieces, one of which has to be from list B, while the performer's diploma requires the three pieces as above as well as a fourth own choice piece.

Do you think you'll go further with your music studies?

Back to the Beethoven. I've learned the third movement but I only need to do the first two for the exam. The first movement is my favourite one.

Yeah thaks really helped! And yes I really hope to go very far into my music studies. I'm 16 and started my Grade 8 (for 2012). I picked the Chopin Nocturne Op.9 No.2 for List C and can play hands together already (after learning it about three or four days ago). I'm a really fast learner! t just comes naturally to me. For List B I thinking of going for the Beethoven Sonata in G No.25 Op.79 (Alla Tedesca) 1st Mov. I love Beethovens music and I think I will be fine with this piece as long as I practice hard.
I don't have a clue what to pick for List A and it's all Boroque music like Scarlatti and Bach. Bach is tremedously difficult for me to play so I still have to decide for List A.

I hope to become a concert pianist when I grow up. Would you think I'll be good enough? I will defo be doing a music performance degree in college (hopefully the Academy) so I can't wait.

Take a look at this: http://www.youtube.com/watch?v=zrq0e1Hl1lE It's a Beethoven Sonatas masterclass by Irish Concert pianist John O'Conor. Tell me what you think.
And hopefully you can answer all my questions and give me advice. Thanks again

colours of a cowboy cliche

Grade 8 at 16 is very good - I only started taking lessons at 15 so you're way ahead of where I was at 16

I wouldn't be in a position to advise you (or anyone) whether you're good enough or not but if you really want to be a performer - go for it! There's no point in looking back and asking yourself why you didn't take the chance. Just be aware that its a highly demanding, challenging and competitive field. Not to discourage you in any way, but also be aware that the number of people who 'make it' is very small, so be ready to also have a backup plan like teaching etc. If you can try and get as much experience as you can now - playing in recitals, try to go for a gold medal, summer camps and keep building your repertoire. It takes a lot of dedication. A classmate of mine was working towards being a concert pianist and was practicing six hours a day in secondary school! Six hours might be excessive but try and do a few hours per day. I believe that if you have a goal you should work hard towards achieving it. Another example - someone I know was really into contemporary music and did a post leaving cert (FETAC) course in music while getting private tuition (her lesson was three hours per week) and the hard work paid off - she got a partial scholarship to Berklee College of Music in Boston. Also, don't put all your eggs in one basket - apply to other places as well as the RIAM.

I'm similar to you in that I find Bach very difficult and Baroque wouldn't be my favourite era. I have some problems with co-ordination and motor function, so counterpoint etc. is very difficult for me. Saying that, I'd advise you to go for the Bach because (1) it'll challenge your ability in a new way, (2) you'd be astonished at how learning Bach can improve your tone in general (and that's coming from someone who hates playing Bach!!), and (3) if you plan on doing a degree, you'll have to do Bach then so at least you'll be prepared. The rest of your repertoire sounds good!

I've seen that masterclass - it is very good. I wouldn't mind having a class like that in lovely Positano!!

Doshea3

Incidentally, I started learning the Eroica Variations Op. 35 just yesterday. I'm vaguely entertaining the idea of doing a Fellowship diploma...I did my Licentiate three years ago today (also incidentally) and haven't done much 'big' repertoire since.

(You're probably wondering what I'm on about...there are diplomas at Associate, Licentiate and Fellowship level...they get gradually more demanding as they go up.)

Scott, I admire your enthusiasm and what seems to be a genuine love for music—qualities which I find are often sadly lacking in the world of professional classical music. I'd recommend you do a degree in the DIT Conservatory...I did my degree there and the piano department is very good—lots of excellent teachers and a really nice and encouraging bunch of people to work with. The RIAM is much more selective and competitive...it suits some people, but I think from what little I know of you so far that the DIT would love to have you and that you'd love it there too.

Keep up the good work!!

colours of a cowboy cliche

Doshea3, that's very impressive! Congratulations on your licentiate (even though it was three years ago) and best of luck with the fellowship if you decide to go for it. It's a great achievement and I can't imagine the work involved - I'm freaking out as it is over my Associate exam!

You're right, it is refreshing to see someone as enthusiastic as Scott. I hope the best for him.

Oh, and on topic - the Eroica is a stunning piece to be learning!

Doshea3

colours of a cowboy cliche wrote: »

Doshea3, that's very impressive! Congratulations on your licentiate (even though it was three years ago) and best of luck with the fellowship if you decide to go for it. It's a great achievement and I can't imagine the work involved - I'm freaking out as it is over my Associate exam!

You're right, it is refreshing to see someone as enthusiastic as Scott. I hope the best for him.

Oh, and on topic - the Eroica is a stunning piece to be learning!

Thanks Colours! I can't imagine the work involved in the fellowship either, considering it was so long ago I did the licentiate!! The licentiate was easier as I had some of the pieces in my repertoire already at that stage, though I'll be learning the fellowship repertoire from scratch. I did my licentiate with Trinity College London, but I am tempted to do the fellowship with the London College of Music, just because I've heard TCL have been a bit dodgy in the last couple of years as regards the running of their exams (not providing grand pianos for the diploma exams, and even filming the exam with no examiner present) though when I did my licentiate I had no problem with them at all.

Best of luck in your diploma. One of my students sat an associate diploma this time last year and I remember well the stress!

s_p_f

Hey all, spent a lot of time working on the moonlight, was lucky enough to perform it in St. Anne's Church on Dawson Street a while back as part of Royal Academy High Achiever concert. I'm shamelessly posting, I know, but I love to hear what people think!

http://www.youtube.com/watch?v=bX3kIEV6O1A

Doshea3

s_p_f wrote: »

Hey all, spent a lot of time working on the moonlight, was lucky enough to perform it in St. Anne's Church on Dawson Street a while back as part of Royal Academy High Achiever concert. I'm shamelessly posting, I know, but I love to hear what people think!

http://www.youtube.com/watch?v=bX3kIEV6O1A

Hi Mr SPF, and welcome to the Classical Forum!

Thanks for posting your video, which I enjoyed listening to very much. The 'Moonlight' is a funny piece to perform—people have so many expectations and preconceptions that reconciling ideas of correct performance practice and how one is used to hearing it with how one wishes to play it is extremely difficult. I think you managed to balance those things admirably. A lot of people will immediately dislike a performance of a well-known work if it is not played in the same manner they are used to hearing it, but I think the important thing in all musical performance is to convince, and I am convinced by your performance that you have very musically sound intentions. (That was a long and waffley way of saying that I liked it!)

I played the 'Moonlight' (the whole thing) a few years ago in college, and I also played it for Feis Ceoil the same year. I'm not sure why I decided to learn it: I think the main reason was that I wanted to try to convince people what a good sonata it was—not just the first movement, but the whole three-movement structure (including the much-derided second movement, regarding which I always tended to agree with Liszt's description of it as a 'flower between two abysses'). The reason I mention this is because the thing that struck me most of all about your performance was the tempo. Actually, I took quite a similar tempo in my own performance of the first movement, and a lot of people at the time told me it was too fast. However, while the adjudicator at the Feis Ceoil remarked on how 'rapid' the tempo seemed at first in comparison to the usual Molto Adagio renderings, he believed it was convincing, which, as I said, is in my opinion the ultimate goal of performance.

The tempo of the piece was something I thought about rather a lot: it needs to have a feeling of a very slow two in a bar, but not so slow that it seems like four. I think most people play it far too slowly in an attempt to strive for sentimental effect, and so I commend your very sensible choice of tempo. Perhaps my only criticism of your otherwise very inspired performance is that you sometimes emphasise the first note of each group of triplets just a little too much, which occasionally makes it sound a little metronomic. If the tone of those G-sharps at the start was more refined and even (perhaps you might plan it as part of the overall dynamic contour of the phrase?—just a thought) I think it would create a much greater sense of stillness. However, I have to applaud your dynamic taperings of ends of phrases, which are most artistically accomplished. Well done, and keep up the good work!

(P.S. The moody lighting in your video is very effective!!)

s_p_f

Doshea3 wrote: »

Hi Mr SPF, and welcome to the Classical Forum!

Thanks for posting your video, which I enjoyed listening to very much. The 'Moonlight' is a funny piece to perform—people have so many expectations and preconceptions that reconciling ideas of correct performance practice and how one is used to hearing it with how one wishes to play it is extremely difficult. I think you managed to balance those things admirably. A lot of people will immediately dislike a performance of a well-known work if it is not played in the same manner they are used to hearing it, but I think the important thing in all musical performance is to convince, and I am convinced by your performance that you have very musically sound intentions. (That was a long and waffley way of saying that I liked it!)

I played the 'Moonlight' (the whole thing) a few years ago in college, and I also played it for Feis Ceoil the same year. I'm not sure why I decided to learn it: I think the main reason was that I wanted to try to convince people what a good sonata it was—not just the first movement, but the whole three-movement structure (including the much-derided second movement, regarding which I always tended to agree with Liszt's description of it as a 'flower between two abysses'). The reason I mention this is because the thing that struck me most of all about your performance was the tempo. Actually, I took quite a similar tempo in my own performance of the first movement, and a lot of people at the time told me it was too fast. However, while the adjudicator at the Feis Ceoil remarked on how 'rapid' the tempo seemed at first in comparison to the usual Molto Adagio renderings, he believed it was convincing, which, as I said, is in my opinion the ultimate goal of performance.

The tempo of the piece was something I thought about rather a lot: it needs to have a feeling of a very slow two in a bar, but not so slow that it seems like four. I think most people play it far too slowly in an attempt to strive for sentimental effect, and so I commend your very sensible choice of tempo. Perhaps my only criticism of your otherwise very inspired performance is that you sometimes emphasise the first note of each group of triplets just a little too much, which occasionally makes it sound a little metronomic. If the tone of those G-sharps at the start was more refined and even (perhaps you might plan it as part of the overall dynamic contour of the phrase?—just a thought) I think it would create a much greater sense of stillness. However, I have to applaud your dynamic taperings of ends of phrases, which are most artistically accomplished. Well done, and keep up the good work!

(P.S. The moody lighting in your video is very effective!!)

Dear doshea,

Thank you so so much for such a detailed response! I really appreciate that feedback.

My favourite interpretation of this movement is by Jeno Jando, for the Naxos series of recordings. That was the performance that really stuck with me because it's such a famous and well-covered piece, and his is very clear and also has that slightly faster tempo. In the beginning, I strove to have a pitch-perfect copy of his version. Then, as the weeks of playing became longer, I started to enjoy my own interpretation. As you can hear, it's nothing radical (there's no presto agitato here!) but maybe a little lengthening of pharses.

I have consistently found it difficult to take the emphasis off those first notes, which you are absolutely right, are a little too loud. (I've been practising Philip Glass and nearly crying with the effort of some of his markings!) Thank you though again, for such a complimentary feedback!

I feel that the second movement has a lot of merit, and I love that description. Perhaps because it is surrounded by those two movement, that's why it gets a hard time. I like it as a stand-alone piece. I learned it a while back, unfortunately lack of practice made me forget it, but it's very enjoyable to play. It's more fun than either other movement - the first is beautiful but very dark and sombre. The third, which is beyond me at the moment, is stormy and great. Actually, may I ask, you said that you performed the third movement at the Feis (congratulations and well done!), how did you find, coming to it? I love it, it's wonderful, but it's always a little depressing that it remains so hard to play, for me. The opening runs are slightly managable, but before I hit the end of the first page, my hands just won't do what I want them too. I know that practice makes perfect, but how long did it take you, and how long had you been playing before you decided that you were happy with it?

It's something I really wonder because I've been playing about ten years, but I get a little frustrated with myself because it seemed to me that I advanced quickly in the first few years, like getting the Gold medal from the Academy in my third year, but I haven't actually advanced in skill much since then. I want to be playing the Appassionata and the Tempest, but I have trouble with chords and runs.

I'm very sorry for whining! I really appreciate the feedback you have given me, and in my playing I'm going to be looking at those first notes. This is a beautiful piece and I really wish to do it justice. (Also, thank you for commenting on the lighting lol I originally planned to perform by candle light. I tried it, but i kept making mistakes as I played and had to give up for the evening. The next day, I was just playing and realized I had played it through without a mistake. I grabbed my camera and hoped for the best!)

Thank you again,

sincerely,

Seán

HairyHatMan

Lotta people learnin cool Beethoven songs, I went for the old classic Moonlight Sonata, the 3 movements make up 14 pages of sheet music but it should be worth it:)