Creation Notes- category -

Using the Vienna MIR Pro 3D settings (MIR2) discussed in the previous article [1], I re-examined the entire performance. [1] Creating a String Quartet with Vienna MIR Pro 3D: Compared to MIR1, the presence of each of the four strings has become much clearer, and the interplay and tension between them can now be expressed much more effectively...

As originally planned, I have reviewed the piano sonatas I have worked on so far, up to No. 32, and compiled them onto a CD titled “Digitally Performed Classical Music” as follows. Vol. 1: The final three pieces of the 32-piece set, “The Three Late Sonatas” Track 1: Piano Sonata No. 30 in E Major, Op...

I previously recorded *Cavatina* [1], but this time I replaced the reverb with Vienna MIR 3D, which I recently acquired. The three-dimensionality of the soundstage has changed significantly compared to before, and I think it sounds much better. [1[: Cavatina—I don’t know if you’re familiar with it, but actually, this *Cav...*.

I’ve finally finished the third movement of Beethoven’s String Quartet No. 15, which I’ve been working on bit by bit. It took quite a while because, during that time, I was experimenting with how to use the Vienna MIR 3D convolution reverb—a new tool I’d recently added to my setup—as I worked on it. Until now, I’ve been using...

I'm entering the notes at a tempo of 138 per half note, as specified by Beethoven.

I'm entering the notes at a tempo of around 100 per half note.

Finally, we have started to review No. 29. It is often said to be the greatest piano piece in the world or the most difficult, and various explanations abound.　It is true that there are many parts that are difficult to understand how to play on a live piano. It is often said that it is the most difficult piece of piano music in the world and that it is the most difficult.

The Use of the Una Corda on Pianos of Beethoven’s Time

Emotional Expressiveness and the Subtle Art of Repeating a Theme

On the evolution of Beethoven's musical expression