Schumann: Romance op 28 number 2

[pianoman53]

Hello,

Now in the summer, I like to work on those small gems that I usually don't have time for during the semesters.
So the first will be one of the most beautiful pieces there is.

I've worked on it for more or less 4 days, but I've been listening to it almost every day for the last 2 months. For those who haven't heard, you should listen to Moiseiwitch and Friedberg.

Mine isn't there yet, but I'd be happy if you had a listen anyway!
and any comments or suggestions are obviously very welcome!

[rachfan]

Hi pianoman,

I've also played this piece.  It's very lyrical and charming.  You're on the right track in performing it. There is already some good expression in your playing too.  

This piece of Schumann was inspired by Sigismund Thalberg's "three-hands technique". That is, Thalberg liked to compose pieces that created the illusion of the pianist performing with three hands.  The method was to give the melodic line mostly to the thumbs at the center of the two staffs and to have the rest of the fingers move to notes laterally outward toward the bass and treble registers.  Given this, there are two important techniques involved: 1) to have the thumbs create a smooth, legato, cantilena melodic line which is always in the foreground, and 2) to keep the accompanying filigree played by the other fingers very subdued in the background. I believe you're already working at refining those elements in the playing.  

Last year I played and recorded Medtner's "Prologue" form Eight Mood Pictures, Op. 1, No. 1.  (My recording is here in the archives.) It's a far more difficult and complicated piece; however, it's also in "three-hands playing" style. So I was grateful that many years before, I had played this Schumann Romance, as it laid the groundwork for practicing this kind of music.

David

 

[pianoman53]

Thank you for commenting! I'll look into it a bit more later, and give a bit of a better reply.

[goldentone]

It's coming along nicely.  You do a good job of bringing out the pathos of the B section which I think is key.  One thing that stands out as far as improvement is not to allow the piece to become monotonous. It has the sweet reverie as of a lullaby, and there is probably a balance there to achieve.  I've dabbled with this piece; its tripartite nature is a frontier for the newcomer.  Will you post again after you've worked on it for some time?

[pianoman53]

Thanks! I'll have lessons with my teacher later this summer, and I'll post a new recording after that..