Schumann Papillons and grace notes

[alrpiano1]

Dear Pianists:
I have a question about grace notes and the romantic period.
I was taught that when playing Mozart and you have a grace note followed by an interval, you play the grace note with the bottom note of the interval. Is this true of the romantic period? Do you still play the grace note with the bottom note of the interval that follows it or do you just play the grace note alone and then the interval. e.g. measure 5 of variation 11 in Papillons by Shumann, do you play the grace note alone and then the thirds or do you play the grace note with the bottom of the third? Thank you so much!

[adodd81802]

Hi, not familiar with this piece, you'll always get more response if you can post the example you're referring too.

I'm not sure of the confusion here. The grace notes have no rhythm and are often played quickly to squeeze extra notes into the rhythm of the piece. To slow them down would then mean adding rubato which some pieces particularly the romantic period give you the ability to so (A lot of Chopin)

But regardless grace notes aren't just random notes, they're notes clearly indicated on the score. If I go to measure 5 I can see the grace note C# required 3 times before intervals g-b,f#-b,g-b so i would simply play the C# early to hit G-B on time, C# early to hit F#-B on time and so on.

The fingers I would use would be 4,3+1 (2 on the a between the intervals)

Hope that helps. I wasn't aware that the grace note ever changes in how it's played apart from rhythm which is determined by the piece. I could be wrong I'm familiar mostly with the romantic period.

If I have misunderstood the question or got anything particularly wrong, please feel free to correct me.

[alrpiano1]

Yes, that does answer the question.
Was not sure if the grace should be played WITH another note of the interval.
Thanks for clarification.

[whistlestop]

Another vote in favour of playing the C sharp as a 'crushed' note before sounding the Bs with their harmony notes. I've spent a fair bit of effort on this work and that's the way I was taught to do it (or at least my teacher has never suggested any other way and she was taught it by a grand-pupil of Schumann!)