I always worked on 4 different sonatas at the same time for about 6 weeks before the recitals, and they really feed off each other.
(...) I will play each program 3 times a week for 8 weeks.
Thanks for taking a look at it!To play all of them kind of happened without planning actually, I was having one recital a year at a chamber music society in Sweden, and it turned into being a Beethoven-only series. So, I had to play 4 new sonatas each year at a recital finally reaching the end. That took ten years. And then, we all were like..."no, this can't be over..." so we decided to make it a series in 2010, one recital a week. Then two other venues wanted the series, too so I will play each program 3 times a week for 8 weeks.I guess every pianist will have their own rhythm, but this worked out well for me. The last recitals, I always worked on 4 different sonatas at the same time for about 6 weeks before the recitals, and they really feed off each other. I would not be able to just plan to do all 32 before actually having played them first.
I think I will add a page where I would get into that, since it's after all a huge part of playing them. Of course it's a personal process, and that's why it would be very interesting to have pianists/teachers and students comment on it, and sharing their views and methods.
That is actually a good idea, Karli...to get into how to practice/learn the sonatas. I think I will add a page where I would get into that, since it's after all a huge part of playing them. Of course it's a personal process, and that's why it would be very interesting to have pianists/teachers and students comment on it, and sharing their views and methods.
Very good stuff, thanks, I hope I can quote some of this on my blog?Per
I don't have a method.....just one note at a time.....as I breathe in and breathe out....
go, if I did that, I would still be on my first piece right now. I hope you're not serious!
In the Hammerklavier I felt I really needed to listen to others, and the slow movement by Kempff opened up my understanding of that piece a lot. His recordings of the late sonatas are incredible. There are some Gilels recordings out there that helped a lot, too. Schnabel has done some great sonatas, especially the early ones. And there is a DVD with Arrau playing op. 111 which is my favorite of all piano things recorded.It might be somewhere on youtube?
Now when I'm doing it myself it feels like I notice people doing it left and right...but that might be me going a little nuts
Maybe it's just the whole world somehow supporting what you are doing, and giving you secret signs that seem to blare out at you in just a particular way .
That is really something that you studied with Kempff, Birba. John O'Conor is there now, and I have considered studying with him someday if I can.
the slow movement in the d major op 10. no. 3 depicts a large hall with a corpse in a coffin at one end of it - he played it for us and it was exactly that. The fourth concerto is the female ego, the emperor, the male; the "aurora" which is the italian subtitle to the Waldstein, is better suited to the sonata because the 2nd and third movements are exactly that and on and on.