This concludes my first (but certainly not last!) attempt to studying, memorizing, and trying to record these wonderful four pieces.
As usual, I'd appreciate any feedback, impressions, constructive criticism...
Normally, I refrain from self-critique in an initial post in order not to bias potential feedback. Just let me mention that I noticed these 8 additional bars in the middle part that should not be there. I accidentally took the "wrong turn"...
Very nice job overall, pv! My overall reaction is that the "paint smells fresh"; i.e., this is a piece that you are in the process of assimilating, after having gotten a good handle on the memorization. A couple of general comments:
1 Much like the E Flat Impromptu, I like to hear a very solid insistence on the waltz aspect - a very consistent and unchanging pulse against all the right hand movement. I realize that Schubert ingeniously introduces a "false" cadence at the outset, but even in this section, and the repeat (or maybe especially so), I need to feel the anticipation of the waltz, but more precisely, not the more typical ONE-two-three, but one-TWO..., one-TWO. For obvious reasons, pianists tend to emphasize the right hand figurations, but I need to feel the rhythmic line somewhat more.
2 Unlike the E Flat Impromptu, which maintains the same rhythmic cadence in the "B" section (and which I think pianists tend not to emphasize enough), the "B" section of this Impromptu is to me unquestionably a Schubertian "Lied", with two "verses". I thought you presented the material very well, but, since it has a repeat, I would like much more shaping, and a more expressive, rubato treatment the second time around. I thought the return back to "the waltz" was in general quite convincing, although I thought you slowed up too much at one juncture (can't remember exactly where). Again, I would do some more shaping in the repeat of "A", since the initial material has already been established.
Thanks a lot for listening and sharing your thoughts, Tim! The paint is indeed fresh, to take up your metaphor :-)
I liked you suggestions a lot. For the E flat Impromptu someone has suggested to me to play left hand alone a lot to fix this as the main and steady foundation on top of which the figurations can add. I think the same would also be a good approach for practice here.
In terms of expressivity, I think for Schubert (more so than e.g. for Chopin) it is a very fine line in that ideally the music should feel as it plays itself, "simple" in a very noble sense. Of course, too little rubato makes the result "mechanical", but too much may make it sound "cheap". But I agree that better shaping of phrases should be possible within these bounds.