Thanks for listening and for the comments. Now for responding to them
D.S.F. - How fortunate for you to have found such a great partner to play all those sonatas with! Prokofiev F minor is on my wish list of sonatas to perform.
Tim - I think I'm responding to your comments in here too
What sort of training do you get in a collaborative piano masters program?
Most of my time in the lessons as part of the program I was working on music for the 4 required recitals - 2 instrumental, and 2 vocal. About 4-6 weeks before each recital I started bringing my partners into the lesson. Most of that time was actually my teacher making sure that the other person knew their part properly and in line with his idea of how the sonata should be played, with a few comments for me. Other coursework specific for my degree included vocal literature classes, voice lessons, orchestral score reductions, vocal coaching, and conducting.
I've been listening. Great violinist. Great music. Running commentary as I listen...
I forgot to mention that there was actually a different violinist for each of the sonatas.
I'm used to the last movement being a bit quicker, but we have to make these choices...it has a lot of character when its clicking, but I wonder if you really love the piece?
I think it probably should have gone quicker - just because it goes on for so long. In this part I also felt limited a bit by the violinist - I wanted to make much more out of the dynamics, but if I did that, then I would end up drowning him out. I also wonder if it came out better when we played it on his recital, and I was more mentally engaged - but it probably doesn't sound much different there!
Regarding the Prokofiev sonata, I had weekly rehearsals/arguments with the violinist because he wanted it to be much more aggressive than I did on the 1st and 3rd movements. I kept insisting the that marking at the beginning of the movement was Moderato, not Allegro. Interestingly, I had the same difference of opinion with another violinist I had started playing the sonata with, but the flutist I also started it with agreed with me.
As part of my studying, I listened to some of the other works - symphonies, piano sonatas, concertos - that Prokofiev wrote around the same time and was struck by how different this sonata was than the rest of them (it made me temporarily reconsider my feeling that this is a mostly sunny sonata and that the violinists were right). I finally concluded that it reminded me more of his ballet music.
The sonata was originally written for flute, and then the violin part was composed when David Oistrakh requested it. A few things were changed to be more idiomatic for violin, and curiously, the second movement was changed from an Allegretto Scherzando (if I recall correctly) to Presto.
Great work on that second movement, it sounds like you were having fun. Woah...were you turning your own pages?
I had a very short page turner who had to turn my pages from the bottom of the page. I suck at turning my own pages
That was an epic moment, and you didn't skip a beat! I wish I could come up with a good description of the unique richness found in certain of Prokofiev's slow movements such as this one...though again, I can see here some limitations in the violin version as apposed to the flute - it's just more natural...
I love the third movement - but it's really hard to pinpoint what the emotion is. Some sort of longing, I guess, but intensely lyrical.