The 'Shadow of Death' - how apt, Cole, bearing in mind the Impromptus were written at a time of marked deterioration in Schubert's physical health. You know how I love my quotes (!) and you are unlikely to have read what Brian Newbould, Professor Emeritus of Music at Hull University, UK, wrote about Schubert. He notes how Schubert's declining health accentuated "his depressive state and unstable moods" and suggests this sheds light on the modal shifts throughout the C-minor impromptu; the battle of illness over health, with the conclusion being acceptance. However, Newbould goes on to state how Schubert’s instrumental music composed at this time near his death offers a great contrast from 'Winterreise', proposing that Schubert’s fortitude in the face of his depression when writing the eight impromptus shows him "at the very peak of his mastery". I agree with Newbould that the Impromptus combine a populist facet without a compromise of Schubert's true self and the pieces are excellent ambassadors of his art which, as a set of independent piano works, appeal to the heart and the mind and the soul - particularly in your exquisite performance of the C Minor recorded here: B R A V O!
I love Schubert! It's a good thing I don't have to pick a favorite one - they are all so beautiful. Truly wonderful performance of such difficult piece, and I enjoy your analyses, as always!
The Erlkonig in the major key is very creepily ironic. It's because the boy is being tricked into thinking the Erlkonig is a good guy. It also, being in the major key, makes him seem like the confident master. I like this. I don't think I've ever heard it before. It feels like a happy major key ending to me, though not giddy.
Thanks for the video. I started learning piano about four years ago (I'm almost 49 now). I have some musical background as a clarinet player and have had some theory training. I've also had some piano lessons off and on the last four years but none for the past year (not classical at least). Anyway, I decided to tackle this piece and it's taken me five freaking months to get it to about 40 bpm and clumsily at that. It makes so much more sense musically played at the right tempo as you do but I'm about to throw in the towel and move on. I just can't cross that barrier from having to look at my hands; unless I memorize the whole thing I will never play it at the right tempo. It's just too hard to keep looking between the music and my hands, especially on the 16th note passage. It's discouraging but I guess it sorta sounds like Schubert when I play it. Sorta.... Piano is hard. Sigh....
I wouldn't be embarrassed about that at all. Realistically most people attempt this after at least 10 years of study. And the respectable performances are usually from people who are full time (diploma level music students or professionals).
Practice creatively and mindfully. Focus on presenting the aspects of the music that interest you. Let the score and your ear be your guides. Each discovery during exploratory practice is something new. Give yourself a chance to love each discovery and you will certainly advance. Be careful working out fingerings that work for you consistently and write them in your score. Your hands are unique.
The part starting at 17:09 is some of the most heavenly beauty that has ever been written.
Love your vids
Schubert is a true master of harmonies, thank you for sharing this!
My pleasure!
This was the first Schubert piece I played, and even though it’s been like 15 years…it’s still difficult! Such a crazy piece…so haunting…
The 'Shadow of Death' - how apt, Cole, bearing in mind the Impromptus were written at a time of marked deterioration in Schubert's physical health. You know how I love my quotes (!) and you are unlikely to have read what Brian Newbould, Professor Emeritus of Music at Hull University, UK, wrote about Schubert. He notes how Schubert's declining health accentuated "his depressive state and unstable moods" and suggests this sheds light on the modal shifts throughout the C-minor impromptu; the battle of illness over health, with the conclusion being acceptance. However, Newbould goes on to state how Schubert’s instrumental music composed at this time near his death offers a great contrast from 'Winterreise', proposing that Schubert’s fortitude in the face of his depression when writing the eight impromptus shows him "at the very peak of his mastery". I agree with Newbould that the Impromptus combine a populist facet without a compromise of Schubert's true self and the pieces are excellent ambassadors of his art which, as a set of independent piano works, appeal to the heart and the mind and the soul - particularly in your exquisite performance of the C Minor recorded here: B R A V O!
A beautiful and apt idea. Thank you for sharing that!
A most engaging and quite mindful performance, sir. I played this years ago. I love your overview as a preface to the main attraction.
Just watched this one again. You really keep that edge
Beautiful performance. So many emotions that aren't easy to define. Thank you.
Thank you very much. I am learning that piece and I learned a lot with you.
I love Schubert! It's a good thing I don't have to pick a favorite one - they are all so beautiful. Truly wonderful performance of such difficult piece, and I enjoy your analyses, as always!
Your videos are absolutely awesome. You should have many more subscribers
The Erlkonig in the major key is very creepily ironic. It's because the boy is being tricked into thinking the Erlkonig is a good guy. It also, being in the major key, makes him seem like the confident master. I like this. I don't think I've ever heard it before. It feels like a happy major key ending to me, though not giddy.
Thanks! Yes, it is definitely not quite so dark as "Death and the Maiden" or Erlkönig, but it's a bit odd nonetheless I think...
Thanks for the video. I started learning piano about four years ago (I'm almost 49 now). I have some musical background as a clarinet player and have had some theory training. I've also had some piano lessons off and on the last four years but none for the past year (not classical at least). Anyway, I decided to tackle this piece and it's taken me five freaking months to get it to about 40 bpm and clumsily at that. It makes so much more sense musically played at the right tempo as you do but I'm about to throw in the towel and move on. I just can't cross that barrier from having to look at my hands; unless I memorize the whole thing I will never play it at the right tempo. It's just too hard to keep looking between the music and my hands, especially on the 16th note passage. It's discouraging but I guess it sorta sounds like Schubert when I play it. Sorta.... Piano is hard. Sigh....
I wouldn't be embarrassed about that at all. Realistically most people attempt this after at least 10 years of study. And the respectable performances are usually from people who are full time (diploma level music students or professionals).
Practice creatively and mindfully. Focus on presenting the aspects of the music that interest you. Let the score and your ear be your guides. Each discovery during exploratory practice is something new. Give yourself a chance to love each discovery and you will certainly advance. Be careful working out fingerings that work for you consistently and write them in your score. Your hands are unique.
You’re not Tom Daly.
Push the hair off your forehead.