Sorry for the delay.
Ok, first, I don't want to be all intrusive or anything, just add something to what you already have, you can ask your teacher about the things that I'll mention here so he/she sees if it's ok for you since it's a little bit of a modification on your position towards the keyboard, but so far I've never had problems with it and in fact find it impossible (at least for me) to play this kind of music and its demands without doing so. But you can take it or leave it
. I'll try my best to make a clear explanation here.
What I'm talking about is mainly to find a way for you to have more power available on your playing, in other words, more weight and speed in your movements and touch. It is easy to do in the middle register of the keyboard, but the farther you get from the center the harder it gets to produce an energetic sound right? so, my tip is, try raising your elbows* so that they always stay at the level of the keys, this will maintain your fingers parallel to the keys, and the more your hands separate the more you need to raise them, but do it in a relaxed way (without tension on your shoulders and back). Try this, for example, on the scales throughout the piece that start in piano and lead to an accentuated note or chord in fortissimo, I can hear your intention of a crescendo but I still feel it ends too soon or that you never reach the real goal.
Also, all of the accents you have, try exaggerating them even more than what you think its needed, again, I hear the intention of an independent voice besides the chords but it doesn't feel Prokofiev-accentuated
, so do quicker movements on with your wrists when playing this notes, without any fear nor tension, just a quick and relaxed movement, it's all physics. I even remember one ex-student of my teacher playing some accentuated notes with the fist to achieve an even greater effect.
The other improvement, probably the one I would prioritize more right now since it's the one that I think disrupts the piece's flow more, is the leaps. Bar 52 is the first one that jumped at me, your left hand, right? from the last chord of bar 51 to the G#5th on the low register. Don't be afraid of this, just remember like I said on the previous post to make the movement from chord to chord as quick as possible and as close to the keyboard as possible, BUT, you need to raise your elbows first so you can freely make a real fast and accurate movement.
* IMPORTANT: * If you decide to incorporate this elbow thing, just remember, your fingers are the bosses and they are the ones that will tell you how much you need to raise your elbows, not the other way around. The fingers will give the order to your hands, wrists, elbows, shoulders, etc. and the music will give orders to your fingers too
. Here is a clear example of what I'm talking about, maybe he does this unconsciously but he's doing exactly what I'm saying, watch his rght hand and elbow starting at min 08:41.
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Again, sorry for the delay, but better late than never
I hope to hear about you later and how much did you improve
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Topic: Prokofiev - suggestion diabolique op4 no 4 [VIDEO]