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I spent 9 months - yes, I love it that much! - learning and memorising this beautiful piece a few years ago and I'm currently in the process of reviving and - crucially! - improving my performance of it, to the best of my ability. Have any of you good people tackled this Impromptu? If so, it would be good to compare notes!


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Listen into the ABF recital which starts 15th or 16th this month. I believe it's in at No 2. I found the right hand too hard, too prolonged, so I adapted the LH instead. Doesn't sound quite the same, unfortunately.
Not for me; too hard, too sad.


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Isn't Schubert wonderful to play?

I've not seriously worked on the No 3, but I've enjoyed tackling the No 2.

And then I came across Kristian Zimmerman's performance. Don't know why I bother.........

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Originally Posted by CharlesXX
Isn't Schubert wonderful to play?

I've not seriously worked on the No 3, but I've enjoyed tackling the No 2.

And then I came across Kristian Zimmerman's performance. Don't know why I bother.........
.

We all easily find many performances better than ours. Why do we bother? For the joy of making music with our own two hands. No matter how flawed I play, I love hearing what I produce myself

If you haven’t seen Graham Fitch’s tutorials on op 90 no 2, you might find them useful
https://online-academy.informance.biz/online-academy/7-impromptus-d899-op-90


Last edited by dogperson; 11/11/18 09:03 AM.
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I am working on Impromptu #1 and it looked deceptively easy compared to 2/3/4 and cant believe how much difficulty I am having getting down some of the LH passages down! I am already going on 6 months of working on it. 😖😖😖 someone in my piano Meetup group plays # 3 and she said it took her a year to at least feel comfortable with playing it “fluently”.

Last edited by AssociateX; 11/11/18 04:55 PM.

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Originally Posted by dogperson


We all easily find many performances better than ours. Why do we bother? For the joy of making music with our own two hands. No matter how flawed I play, I love hearing what I produce myself

If you haven’t seen Graham Fitch’s tutorials on op 90 no 2, you might find them useful
https://online-academy.informance.biz/online-academy/7-impromptus-d899-op-90



I totally, 100% agree. It's why I've been murdering the classics and beyond for the last 60 years! I hope I won't be stopping any time soon.

And it's that experience which enables us as try-hard pianists (can't speak for everyone, of course) to appreciate even more a Zimmerman or a Paul Lewis when we hear their Schubert, and sadly compare them with our own efforts.

Thanks for the Graham Fitch link. I must have a look.

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I did that piece with my teacher a few months ago and it was pretty frustrating. It's really hard to make it sound light and jaunty like it should and I found it technically awkward to play. I guess my technique is not up to par for this piece yet.

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Lol ! I'm left wondering why this is on the Adult beginners section. Is it to make some of us feel more inadequate than we already are.

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If we're still talking about the Op. 90, No. 3, "light and jaunty" is hardly the way it should sound - far from it.

Regards,


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Originally Posted by Michael P Walsh
Lol ! I'm left wondering why this is on the Adult beginners section. Is it to make some of us feel more inadequate than we already are.

Hey! If you want to compare yourself and feel inadequate, this is not the thread for it. Instead, you are to proceed immediately to this thread! wink


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Originally Posted by BruceD
If we're still talking about the Op. 90, No. 3, "light and jaunty" is hardly the way it should sound - far from it.

Sorry, I confused it with op. 94 no. 3, which is the one I did.

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Originally Posted by Qazsedcft
Originally Posted by BruceD
If we're still talking about the Op. 90, No. 3, "light and jaunty" is hardly the way it should sound - far from it.

Sorry, I confused it with op. 94 no. 3, which is the one I did.


Op. 94 are the "Moments musicaux," and the third could certainly be qualified as "light and jaunty."

Regards,


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Hi cruiser! I'm just starting this piece. I love it so much! Not being a seasoned player, it will likely take me a while to learn. Also I'm limiting my practice time on it to about a half hour a practice session, just until my right hand gets more relaxed and used to the notes.

Keeping that inner voice quiet enough will be a challenge for me. I also have some questions about the trills.

On youtube I found a masterclass with Andras Schiff that was interesting. The instruction on 90/3 starts at about 38 min in. (The student's performance is from about 5:30 to 11:30. )

https://www.youtube.com/watch?v=IzTdpTHIgkc

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I had never heard this before and just immediately fell in love with this piece. Wonderful song hopefully someday my fingers will be able to untangle themselves enough to hammer through it.

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Originally Posted by Valencia
Hi cruiser! I'm just starting this piece. I love it so much! Not being a seasoned player, it will likely take me a while to learn. Also I'm limiting my practice time on it to about a half hour a practice session, just until my right hand gets more relaxed and used to the notes.

Keeping that inner voice quiet enough will be a challenge for me. I also have some questions about the trills.

On youtube I found a masterclass with Andras Schiff that was interesting. The instruction on 90/3 starts at about 38 min in. (The student's performance is from about 5:30 to 11:30. )

https://www.youtube.com/watch?v=IzTdpTHIgkc

.

Thanks for sharing the Schiff masterclass; I am not playing this piece, but like many masterclasses, there is a lot to be learned that is applicable to other music.

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I just wanted to think the fine folks in this thread for bringing this Impromptu to my attention. I've had the score laying around for a while, but never really looked into it. After reading this thread, I was prompted to sight-read through the Impromptu last night. What a little jewel of a piece! The technical difficulties are fairly limited (at least at the Grade 8 or Diploma level), but it demands a refined aesthetic sense. I may even consider putting it on my diploma program. This is one of those pieces that is easy to play slowly, but would probably be a pain to bring up to speed...

What's funny is that I initially misread the key signature, and played about three pages in Db rather than Gb before I realized my error, wondering the whole time why it sounded funny. I'm going to blame my poor eyesight... that's got to be it... my poor eyesight...


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Originally Posted by Dr. Rogers
I just wanted to think the fine folks in this thread for bringing this Impromptu to my attention. I've had the score laying around for a while, but never really looked into it. After reading this thread, I was prompted to sight-read through the Impromptu last night. What a little jewel of a piece! The technical difficulties are fairly limited (at least at the Grade 8 or Diploma level), but it demands a refined aesthetic sense. I may even consider putting it on my diploma program. This is one of those pieces that is easy to play slowly, but would probably be a pain to bring up to speed...
[...]


I've performed this Impromptu in recital on a couple of occasions and it's always been one of my favourites (favorites, to those who prefer American spelling!).

I'm not sure what you mean by "bring[ing] it up to speed" but, yes, it does need to flow ever forward and never drag. One big challenge to playing this piece well - and I've heard several pianists fall by the wayside because of it - is one of balance. The melody has to continue to sing above the right-hand accompaniment and that accompaniment should never sound "note-y" but, rather, come across as a gentle underlying murmur. Yet every note has to sound. This is more difficult than one might think, particularly in those long moments when the dynamic is pp.

The other challenge is giving a sense of structure or architecture to this piece which may be even more of a challenge than the above mentioned. Because of its relative length and the repetition within it, (yes, that's Schubert, isn't it?) it has to have a continuous sense of moving forward to climaxes (as subtle as some of them they may be) and then moving back from them. It shouldn't break down into separate, seemingly unrelated sections.

Well played, it's an exquisite gem!

Regards,



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