Unlocking Schubert’s Style with Dominic Cheli
Join us for a deep dive into the poetic and expressive world of Franz Schubert with pianist Dominic Cheli. In this interactive livestream, Dominic will explore the hallmarks of Schubert’s style — from lyrical phrasing to harmonic nuance — and share insights on bringing his music to life.
Bring your questions! We’ll be taking live Q&A and answering any challenges you might be facing!
Plus, we’ll be announcing the launch of our latest Schubert Challenge — your chance to learn a Schubert piece in just one month alongside the tonebase community.
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I'm playing Impromptu Op. 90 No. 1, c minor for a workshop this summer, and looking for suggestions about how to handle the recurring three note pattern. I'm having trouble giving it a sense of direction, especially in pp phrases.
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Hoping not to stretch myself too thin between the other pieces I currently have on my plate, I’ll try to participate in the Schubert challenge in which I hope to learn at least one, maybe even two or three, of the Impromptus. One question I have is how to make the long “meditative” passages in which time seems to stand still (e.g. the two extended sections with continuous figures of four 16th notes in the middle of Op. 142 No. 1) sound magical and breathtaking instead of static and boring. There are many such passages in Schubert’s piano music (the middle section in the third one of the Drei Klavierstücke is another example).
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I’m currently working on the G flat Impromptu op90 no3. Do you have any practice tips on how to achieve a satisfactory balance between the melody and accompaniment in the Right hand? (sorry I can’t join live today). Hazel
