Piano World Home Page Forums Our Most Popular Forums Pianist Corner Members Recordings - Pianist Corner Schubert: Impromptu op. 142/2

Almost done with my little Schubert phase!
As always, I'd be grateful for any constructive feedback.

http://www.youtube.com/watch?v=ZAsQDJuSpZk

Note perfect, and the tone was excellent. Very good sound mix on the recording.

First, I play this piece in four measure phrases. I feel that it sets the melody in the listener's ear better that way. Otherwise, the piece can get boring.

Second, in that I am a devotee of 19th century piano performance, I arpeggiate (gently and softly) the chords in both hands of the "A" section. I do the same in the "B" section only louder.

Which brings up what I call the Paul Badura-Skoda point. As you know, he re-recorded all of his Schubert after having played on Schubert's piano.

My point, is that I am very conservative when it comes to Schubert volume levels. My urtext has the "A" section marked pianissimo, and the "B" section marked forte.

Also, I asynchronize the bass note in the "C" section, which enhances the melody line.

Finally, I do not play any of the repeats. Brendel only plays the repeats in the "C" section, and he comes in around six minutes. Although he plays the "A" section slower than you do, I agree with your tempo.

Clara Schumann taught her students to only play the repeats if the piece was unknown to the listener. This is a very common work, and I think all of the repeats make it a little long.

You have the makings of a true concert pianist, although if you ever want to attain the level of an Arrau, Horowitz, or Rubinstein, you are going to have to learn to sit still. All of the upper body movement distracts from the music - in this case, beautiful music.

pianovirus, briefly put, I thought this was the best of the lot to date. For me, you made a special point of emphasizing the songful character of both the "A" and "B" sections, without a significant shift in tempo between them. I think that's absolutely correct -- I often hear a "sturm-and-drang" virtuoso approach in the middle section which to me unbalances the sense of the Impromptu. Also, you had the presence of mind to build in some subtle changes in voicings and gestures in the repeats, which for me is absolutely necessary. I thought your singing line, pace, and voicings were just especially satisfying and natural in this one. Thanks for sharing!

My only suggestion would be that in terms of shaping the melody the opening note and most of the other similar places in this piece was a little too soft so I felt it's connection to the next note in the phrase was lost. I listened to several YouTube recordings of the piece, and most(but not all) of the time the pianists did play those notes a little louder than you did.

Bravo!

Thanks Louis, Tim, and plus for the encouraging feedback and the suggestions.



I fully agree with this comment. It really compromises the connection to the phrase in the current way.



If I understand correctly, you perceived that I phrased mainly shorter units, right? In that case, I agree with you, the phrasing should not only be on shorter units; the main phrases should be on four measures.



I was not aware he skipped the repeats (thanks for that comment, I just listened to his recording again). But (it's just a matter of taste of course), I personally much prefer it with the repeats. Heavenly lengths!

P.S. Btw, just a thought that crossed my mind: the beautiful melody emerging out of the triplets in measures 55-58 -- it's notated in a peculiar way without emphasizing the melody notes. I don't know if it was Schubert's way of saying "not too pronounced", just play it casually, or if it's just idiosyncratic notation. In any case, if one wants to play this melody more pronounced a fingering that allows for more finger legato on the melody notes might be better. Right now, I just always use the thumb on melody notes. If anyone has any thoughts on this, I'd be interested to hear.