Chopin (3rd Scherzo), Enescu, Arutunian

[furtwaengler]

March 1st 2010 is Chopin's birthday. This means a tribute recital! Yes! 

In light of this, here are some segments of a recital my trumpet buddies and I threw together, August 9th, 2007.

Chopin's 3rd Scherzo. I am mindful of the idiosyncrasies of this performance...I certainly was not dreaming of perfection, but an improvisational impulse driven about by certain contrasts and that one glorious transition into the coda. I could not get that out of my head, and this is the reason I programed it; I often make swift, spontaneous decisions in choosing recital rep, and this is the sort of "in the moment" result of such a choice. Unfortunately the piano was a beast...I have never had to fight so much with such a fussy piano, horrendous instrument it was...a ceiling on the loud end forbids great dynamics (but somehow I got some power), and a stiff click in the hammer rendering great difficulty in playing soft...notes just drop off; it's terribly frustrating. This recording, in great sound (for once!), then represents a shadow of a conception still looming on my mind, but also a triumph over the circumstances. There is just enough an image that I believe you see what I was getting at. I'll play all the Scherzi on the birthday program, I think...a little gift to myself.  Yes, yes, yes...

[furtwaengler]

But the above was a breather...this was a trumpet recital! My friend John was in town for two weeks, and agreed to play my favorite trumpet piece. This is that,  Enescu's Légende. 

[furtwaengler]

He also introduced me to this fine piece written by Arutunian, the Aria and Scherzo for trumpet and piano. I enjoy the recording, except for that feeling I started the scherzo too slowly for him - that continues to bother me. Oh well...

There was more on this little recital, but these are the things I really enjoy and wish to share with my friends here. Do enjoy, and continue to have a happy thanksgiving.

[pianowolfi]

So on March 1st you will play all Scherzi? I wish I could be there!
I have occasionally dreamed myself of risking this endeavour.  

Great work on the op. 39, I have played this in concert too and I found it very delicate to perform in public, especially the choral part with it's sparkling cascades.

So actually all I can say is Bravo!

 

[furtwaengler]

Thank you Pianowolfi.

Yes, those sparkling cascades are indeed really difficult, and here they failed to speak properly.

But I'm so excited about this recital. It's still in the works...I am not attempting to give a comprehensive view of his output, or to play all the popular tunes, but to display the Chopin I identify with, to present a few pieces I hold dear. There are none I love more than the 4 scherzi. Publicly I've played 1, 3, and 4 as stand alone pieces (which maybe they really are), and I'm still pondering how effective they are as a large set. There may be different ways to present them - If you or anybody else has some ideas, don't hesitate to make them known.

Hey listen to Enescu's Légende if you have the time...I adore this piece!

[birba]

Bravo!   I loved your playing.  It truly was spontaneous in many ways.  Wonderful control of the sound and colors in general.  The only thing that didn't convince me were those "cascades".  They sounded too careful and sort of stopped the flow of the choral melody.  I think the attack should be more forte with a lightening up as you go down.  And perhaps faster - certainly not in the time of the choral melody.  Throw them to the wind, so to speak.  I loved your big crescendo in the that incredible transition to the coda, but I think it's too slow and sort of loses momentum.
But I must say, it was a wonderful rendition, even "in the rough" as you put it.

[rachfan]

Hi furtwaengler,

Bravo!  I always enjoy hearing your artistry.  This scherzo is dramatic, declamatory, lyrical, delicate and reflective, and you respond accordingly.  And although you speak of your interpretation as a "shadow of a conception", it is full-fledged indeed.  Not only do you play the score, but read between the lines as well.  You bring a wonderful sweep to this music.  I enjoyed your dramatic flair, the songful chorales, the light sprays of arpeggios, the range of emotions, your  broad and sensitive array of touch, and the exciting dash to the finale.  There is much spontaneity there making for a convincing and engaging performance. Superb!  

P.S.  I also listened to both works for trumpet and piano.  I had never heard either of them before, and the collaboration was excellent.  I enjoyed them both.  Thanks for posting them here.    

[furtwaengler]

The only thing that didn't convince me were those "cascades".  They sounded too careful and sort of stopped the flow of the choral melody. I think the attack should be more forte with a lightening up as you go down.  And perhaps faster - certainly not in the time of the choral melody.  Throw them to the wind, so to speak.  I loved your big crescendo in the that incredible transition to the coda, but I think it's too slow and sort of loses momentum.

Birba, thank you for the helpful critiques. I agree that the "cascades" did not come off in this performance. It is the weak point, and I go back and forth as to whether or not this is merely a flaw in execution or a problem with in the conception itself. The last thing I want is to impede the flow of the choral melody (though admittedly I had been thinking of these in blocks, more Brucknerian than Chopinesque). At the same time I don't want their individual appearances to become redundant - I'd been thinking of them responding in the temperature of the contrasts made between the individual appearances of the choral theme, especially that of the E major and E minor appearances. There's more thinking to be done on how these cascades should be handled in the structure.

The transition into the coda actually did come off as I intended and I believe it to be the highpoint of this performance. It is extremely helpful that you comment as you do for it is hard for me to see it objectively...especially with the awareness that I very well could be reading something into the score that is not there. I know I'm a bit stubbornly tied to this slower rise, but if it doesn't work it doesn't work and I need this type of input. Thanks very much! 

P.S.  I also listened to both works for trumpet and piano.  I had never heard either of them before, and the collaboration was excellent.  I enjoyed them both.  Thanks for posting them here.   

Rachfan, I wish I could live up to the kind words in your post above! Thank you for the great encouragement you bring to many members on this forum. It is no small thing, the jolt of confidence your words produce in us.

And thanks indeed for giving a little time to listen to the trumpet pieces. I really enjoy them, and that's the reason I included them in posting the scherzo.

[rachfan]

Hi furtwaengler,

You're way too modest.  You really do deserve that praise!  

I must confess that I possess far less than a "big technique".  But occasionally I have to play a virtuosic element in a piece, which is quite difficult for me despite intensive practicing.  Well, Josef Hofmann used to say, when confronting such a difficulty, "will it" to happen.  I believe that's what I do while applying the best synthesizing and integrating motions I can muster, and very often it works.  Perhaps you, with a far better technique than mine, do likewise on occasion.  I truly believe that it brings an edge of excitement to performance, and most listeners far prefer it to hearing an overly cautious performance or worse yet, a sterilized CD recording.  When you play, furtwaengler, it's the real thing, and I greatly appreciate and value that. I'm sure others do too.  I can't wait to hear your upcoming scherzo project.  

[birba]

Do you honestly think most people prefer hearing an "overly cautious performance"?!  or a sterile CD, as opposed to a live spontaneous performance?  I hope you're wrong.

[rachfan]

Hi birba,

I'm confused by your question. To the contrary what I said was:

most listeners far prefer it to hearing an overly cautious performance

thus the exact opposite of people preferring an overly cautious performance, meaning that they do instead appreciate spontaneity and even some risk taking.  

[birba]

uh, duh   Sorry about that.  Chalk it up to early senility...

[rachfan]

Hi birba,

No problem.  I have trouble remembering what I had for lunch.