tag:blogger.com,1999:blog-5942458087666977269.post5089877018216293076..comments2024-02-05T06:32:20.199+00:00Comments on entschwindet und vergeht: Schumann - Humoreske, Op.20Murphyhttp://www.blogger.com/profile/11658628800390775081noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-5942458087666977269.post-60561576026206384452008-09-05T01:23:00.000+01:002008-09-05T01:23:00.000+01:00Indeed - the right hand plays it an octave above, ...Indeed - the right hand plays it an octave above, a semiquaver behind. It gets confused, however, as the melody in the bass occasionally plays the same note as the hidden line (fourth bar). <BR/>I wasn't denigrating her performance, though, merely stating that it doesn't back up Zizek's point. I agree with your other points.Murphyhttps://www.blogger.com/profile/11658628800390775081noreply@blogger.comtag:blogger.com,1999:blog-5942458087666977269.post-43009001703786814432008-09-04T23:59:00.000+01:002008-09-04T23:59:00.000+01:00I think Soojin Ahn's performance is just beautiful...I think Soojin Ahn's performance is just beautiful. True, she plays the eight measures after Wie Vorher slower, but it's only because it's the bridge that brings the piece back home. Once she is there, she plays it with a more veiled, dreamy sound. BTW, she gets right back into tempo there, and if it's a notch slower than the beginning ( I didn't check with a metronome), I think it makes perfect sense. The "inner melody" if you look closely, is actually also in the right had throughout, which she brings out more in the beginnig (it's also in those long cords before Wie Vorher), and much more subtlely the second time, like a memory. It is very boring when the melody is brought out in an obvious way, every time. Listen to her performance again, and you will absolutely agree with me!mozartrondohttps://www.blogger.com/profile/17666687094108973789noreply@blogger.com