Braixen's Performance Submissions

[braix]

I'll make you proud Latios

[braix]

Submission 1: "N's Farewell" - Pokémon Black/White

[Pianist Da Sootopolis]

Going to say stuff as I listen...
Your general touch for this piece is rather harsh (though maybe that's just the piano), and doesn't particularly fit the mood for this piece- this is probably my main issue with it.
I like how you keep the pedal down through around 7 seconds (third measure), and let the dissonance of the G mnr7 and B flat maj7 happen.
Right after that, though, with the a flat 9, is the change back from the dissonance, and doesn't have any shape or contrast with the previous section. You don't need to go completely subito piano or sforzando here, but a contrast is necessary (Bespinben marked it mp, as opposed to the beginning marking of piano). Same with the a flat minor that comes right after, the roll kind of helps there but it feels a bit slow to help much.
At the end of measure 8, try making those accompaniment F's and G's softer- it's hard because it's in the thumb, but it's equal to your main melody, which, despite your nice shaping, isn't coming out right because those tend to be a bit loud.
End of measure 11, the LH is suuuper loud. You can bring it out a little bit, so that careful listeners can hear the line moving downwards, but it's completely overpowering.
Measure 12 to 13- this is completely optional (as is everything else but this is more of just a personal taste thing), but after your climax, I'd resolve on the E flat 6 a bit quieter.
Then, at measure 15/16, I'd do something else- quiet down at measure 15, then grow with the c minor progression to the E flat chord.
The LH accompaniment at measure 17 really should be softer, so that the top line can come out (as with measure - it doesn't need to be inaudible, just needs to accompany the gorgeous top line.
At the tail end of M. 23 into 24, I'd get softer here, to draw attention to the interesting harmonies (that almost sound oriental, to me, for whatever reason), and so that the crescendo to the ff at measure 26 means something.
Also, make sure to decrescendo after the ff.
Nice jump at measure 34- I actually omit the bottom e flat because I don't feel it's necessary, seeing as it's already present an octave higher. You don't need to do that, I just did it because I couldn't be bothered to get my jump that good- it may help, though, keeping the LH softer if you choose to make that part RH only like I did. You can maintain more control without having to make a jump across the keyboard.
Again, decrescendo after the big ff, though this time it's not as important.
At measure 41, though, right with the C-E flat tenth, I would go subito piano right there. It's a huge mood change, and Bespin actually marks it mp right after (not sure why, maybe it just looks cleaner, but he probably had a reason). Regardless of how it's arranged, it's still a huge change of character in the music, and I'd emphasize that by going quieter, and maintaining that until m. 44.
At measure 47, it is technically marked mf, but I'd still go a little quieter (the previous marking was forte, with a decrescendo), to emphasize the interesting G flat major or whatever it is technically in the LH.
And, as a final note, I'd end a little quieter, and leave a little more time in the video before you cut out, but that's just me XD

Hope that didn't come off as super harsh, it wasn't bad, it's just a favorite song of mine XD The harshness could be a combination of the piano and recording equipment, as could the dynamics, but still see if this helps.
Hope I helped even a little, lol.

[braix]

Thanks! I'll keep these in mind.