An interesting choice of pieces. It might interest those
listening to know that old Igor, in some strange fit of
whimsy, decided the right-hand part should have to play
only five pitches in each of the little "movements".
I've never read an explanation of it (and the pieces are fun
to play, actually); perhaps you know why Stravinsky did
This was wonderful to hear these spritely piano pieces of Stravinsky's done up so nicely with the GPO Steinway.
And thanks for answering David's question about the title and concept behind "The Five Fingers." While listening, that was good imagery to conjur--the Master sitting on the piano bench with his children as they play the right hand parts. What a great story that is.
Now I have a request--that you try this exercise with me:
--Put yourself in as objective a frame of mind as possible, so you can try to make yourself a first-time listener to your recordings.
--Play one or more of the pieces at a good performance-level volume.
--Ask yourself where the piano seems to be coming from. Is it close to you, or far away? Are you in a small, medium, or large-sized room?
--Would you rather be in a different physical relationship to the piano as the music plays? Would you rather hear it in a different sized room?
To give you my own responses, as an actual first-time listener, here are my responses dictated of course by my personal preferences:
--The piano sounds like it's quite a distance from me, in a fairly good sized hall which is empty. I seem to be an audience of one, but I'm being shy, sitting in the back row of this large room, as if I'm trying to keep an emotional distance from the performance.
--I would much rather move up close to the piano, and have this concert given in a smaller venue. Maybe not as intimate as having a pianist play for me in the living room of a house--though that would be nice!--but at least I would like the feeling of sitting in the first few rows of a medium sized recital hall, and that the auditorium has other patrons in it.
Reverberation. With a smaller space setting, and with the piano less drenched in it, and with the hard bright reflections dampened--Suddenly I would have my wish--I would be closer, in a smaller space, with other people attending the concert.
Maybe you'll be able to see why I would prefer a more intimate treatment to your recordings. You could experiment with what I've described, dialing down the size and amount of reverb, and testing the results on yourself. You may prefer it yourself once you hear it!