Help!

[xhunterjx]

Hey everyone,

I have untill August 15th to learn the following:

Mendelssohn's Fantasy in F# Minor, Op. 28
Albeniz's Lavapies from IBERIA Bk. 3

I am wondering if anyone has learned either of the pieces and has advice on how to learn them.

I have already started the Mendelssohn...I decided to start with the 3rd movement (Presto) first since it is the hardest. 

As fas as the Albeniz goes, I have no idea even how to start.

Thanks,
Hunter

[desordre]

 Dear Hunter:
 Here some thoughts about the Albeniz work, that I hope could help you a bit.

 In the first part, the RH does almost all the work. Perhaps it can help studying just the octave when you have the blocks, or the melody when there are three distinct notes. Thus, you will solve the movements and get a simpler material to read. When that's done, just add the inner note. Pay attention to the fingering!
 The LH is quite easy but the gaps bass-melody/chords. As in any Chopin work with this kind of movement, you must acquire a notion of space. A good exercise is to study each one without looking to the keyboard. Of course the difficult increases this way, but then you'll have to trust your arm to guide you (and the neural apparatus behind it  ).
 Basically, you have to work HS. Oh, well...such a great advice... 

 The second part is straightforward, but the arpeggi need care. My advice, since they from one hand to another, and you have several layers happening together, is to work around them, i.e., learn the arpeggi alone, then add something (the bass, for instance), and procede until it is done.

 In spite the fact the piece is not that long, it have fifteen pages, and a lot of material to memorize and to master. So, it's of paramount importance that you know the piece as deep as you can: do some analysis (harmonical, structural, Schenkerian, Retian, whatever) and listen to recordings. By the way, Mrs. Larrocha is probably the most brilliant and respected performer of this repertory, but there are other interesting versions. I beg your attention to the harmony of the piece, because at a first glance it seems far more complex than it actually is, and if you do not unravel this your work will certainly get more rough.

 About the interpretation, remember that this spanish nationalist repertory (which includes Granados, Turina, Falla, among others) is made of contrasts of dynamic, touch, texture, color. Nothing worst that a bland performance of Albeniz. However, it's easy to turn it into a mess, if you miss the spot. Procede carefully.

 Sorry about the Mendelssohn, because I'm not acquainted with this piece.

 Best wishes, and good work!