Group 4

By the time of his early death, at the age of thirty-one in 1828 (November), many Schubert's works were unknown and, of course, unpublished. Besides Robert Schumann, it was Johannes Brahms who not only collected some of these pieces but also edited them. Among others it was the "Drei Klavierstücke D. 946" published by Brahms (anonymously) in 1868.

It seems that these pieces were composed in May 1828, so a few months before the composer death. Schubert was plenty aware of his destiny (because of his incurable illness), but capable of writing the most beautiful and inspiring music.

The second piece is in E-flat major. It has a rondo structure (A-B-A-C-A). With a kind of lied melody, almost a friendly and comforting barcarolle, which is played as introduction, in the middle of the piece and as final farewell. And two, B and C, sections.

The B section is in C minor, with its chromatic thirds and brusque dynamics transmit obscure and tragic feelings. The C sections in in A-flat minor/major (with a brief development to B minor). The C section is, in spite of its melancholy, an open and affirmative song to life. It is one of those Schubert moments in which you would like to play it over and over, as Christian Zacharias says in his lecture in Wigmore Hall (one you find the beauty, by the hand of Schubert, you would want to stop and merge with it). 

So, the second piece in D 946 is a symbolic message about the human being and human existence contradictions, but with a mature and wise resolution, a "Wanderer" music vision and, beyond words and through an aesthetic understanding, I deeply identify myself with it.

I would like to make a video with this piece by the end of the week 

Inspired by this course, I am trying to reimagine the 3rd movement of the Tempest sonata, which I played over 30 years ago. I’m still relearning the notes. I’m trying to think of it in terms of a setting where there is a protagonist whose life is being shaped by both fate and magic. 
 

Beethoven wrote this sonata in 1802, the year in which he wrote the Heiligenstadt Testimonial, his admission of his growing deafness. To me, the perpetual mobile reflects the lack of control over one’s destiny. 
The tonic pedal in the first subject is rhythmically displaced and out of sync with the melodic motif, and I am taking this to represent a mismatch between the path that the protagonist wants to follow and the path allocated to him by destiny. In these bars, there is very little movement in the repetitive theme. After the first 8 bars, the Melody and bass line move easily together, suggesting perhaps a temporary surrender of the will to the force if destiny. 
These ideas recur throughout the movement, with melodic motifs repeating without really moving anywhere , with a hemiola once again giving a sense of rhythmic instability, followed by more melodic movement as the triple time re-emerges. In my mind, I am imagining being entrapped by destiny and then trying to free myself, but to no avail. There is terror, anger and frustration in this theme, for me. Not sure if this makes sense. 
 

I have a few other ideas as well, and I will try to notate them on the score.
 

as I’m still note learning, I haven’t prepared very much yet, but I recorded a bit of it last night. I deleted the first couple of bars because I absolutely hated how I played them.

Those octave leaps in the right hand are where I am thinking of the magical element. This kind of makes sense to me, as when Beethoven was asked how to understand this sonata, he said to go read Shakespeare’s Tempest.

sorry, I had the gain up a bit too high, so it’s all quite loud. 

Thanks for the second assignment, Konstantin! That’ll be fun to experiment with!

I think that the key moment of my narrative vision of this Schubert piece, putting aside what I wrote in the previous post, is the final return of the recurrent melody/theme A. Because there is a vital/emotional journey from the beginning to this moment. So, in this stage of my life (where awareness of the passage of time plays a very special role), in a world full of pointless distractions that I hate, and by the hand of Franz Schubert, I have a clear idea of these final bars. Maybe it is something different of my first approach (as Konstantin is asking), but I must confess not too much different.

I want a final return where the tragedy is absent; but there is no way for a superficial and childish happiness either. No tragic feelings and no happy end. Sometimes, we listen all that easy literature of the all dreams come true (here or in another world...). I want to show a final return of the stoic wanderer image, walking with a firm step, whatever time is remaining for him, in company of beauty, friendship and love.

I've really enjoyed learning this piece through the suggestions of Konstantin Soukhovetski in this wonderful course. I want to play over and over this beautiful piece, improving it in all its details, trying new narrative perspectives. And of course other Schubert piano music.

That's why I tell my friends that this will be, as far as piano is concerned, a "Schubert summer".

Hello!!

On the zoom we had with Maestro Konstantine. I talked about Scherzo no.1 of Chopin and although I've been trying to find a story that can relate to me. I just haven't been able to decipher what does the piece mean to me.

Nevertheless, I leave a small fragment of my playing. 

https://youtube.com/shorts/BQuYicxmNUE?feature=share

Saying that... I leave you with another piece I'm playing that is "Quejas, la Maja y el Ruiseñor" from Enrique Granados.

For me, this piece can have 2 different developments. One of love and one of heartbreak.

Love Story:

In every love story, there's always one pivotal moment that makes a love story UNFORGETTABLE.

And no, it's not the moment when guy chases girl... Or when guy realizes she's the one... And not even when after so much heartbreaking and pretending, both characters realize that they love each other.

No... I'm talking about something much more simpler yet... POWERFUL.

Probably, if you've been lucky you've experienced it or at least, had a little taste of it.

Because let's be honest...

All of that Hollywood / Disney love fantasy is amazing! And we love it!! (At least I do).

But, the truth about love is that is much more simpler.

And, it most cases... It is.

Not to say that all those big, one of a lifetime situations don't happen or aren't love.

But, love... Or at least, what I like to call real love is found in the little gestures, the little moments that you share with your love one.

And that... Is what this story is about. The real love.

Or at least an extract of it.

Of course, as everybody knows... The story begins with guy meeting girl.

And no, it was not love at first sight. But just 2 people meeting each other and wanting to know more about each other.

And so, as easy as that, the dating phase start.

Meeting in coffee shops, going to the movies, going out eating, walking in the park, going for an ice cream, meeting the friends, going out for breakfast, meeting the parents, traveling, etc, etc, etc.

And of course, each date feeling exciting and nervous, feeling those butterflies in the stomach, taking hours and hours to get ready (as a girl, at least) so you impress that someone special, smiling 24/7...

Basically, becoming a zombie of love.

You feel alive like you never felt before. 

And it feels amazing!! It's fascinating and incredible.

And the best part of this is...

When you've been together for 30, 50, 60 years and you still feel those butterflies in the stomach.

When you feel love and protected like when you go outside and the warm sun touches your skin. It sorts of comfort you.

It's when you're in your house, look outside the window to the beautiful clear, blue sky and the chirping of the birds and the first you think of is your love one (even if your love one is there, right next to you).

It's when you go out shopping and suddenly, almost automatically, you buy something to your other one.

It's when you receive good news or... even the bad ones and the first thought in your mind is telling the news to that special one.

It's those little details where real love is found.

And this piece ("Quejas, la Maja y el Ruiseñor") reminds me of that... the real love.

Heartbreak Story:

It's the same story as before.

The only difference is that your special someone is not there anymore and, you find happiness and nostalgia in those little details.

https://youtu.be/-u31Ek29OOI

Thank youKonstantin Soukhovetski  and Dominic Cheli for this amazing intensive you’re doing