Schubert Impromptu Op. 90, No. 3

[winterwind_23]

Hi Pianostreet,

I've been working on this Schubert impromptu on and off for the past 5 months and would appreciate constructive feedback to improve my playing!

I'm largely self-taught after spending a few years with a piano teacher learning the basics. There was a gap in my playing from college until several years ago, and I am trying to get serious about piano again (I am in my 30s now). Currently not taking lessons, but hope to in the near future. The recording is not perfect note-wise, but probably good enough to get a sense of my playing. Recorded on a Kawai CA-79 using PianoTeq.

Thanks for listening!

MP3 link: https://lap.box.com/s/72z86z6679b58n0ufrv4dhhokby5kviq

[anacrusis]

Nice job! Very good! I think you have a good character going for the piece, and you're doing a good job separating the melody from the accompaniment. What you could do to take it to the next level, is to work on playing the accompanying voice even softer. That gives you more ability to play with the dynamics. Sometimes, right now, you need to play the melody quite strongly (perhaps a bit too forcefully which doesn't suit the character of the piece) to make it heard over the accompaniment. With a softer accompaniment, you could either choose to play the melody a bit softer as a well, while still keeping the two voices well separated, or get a softer effect just from the fact that the accompaniment is softer. You can create the effect of forte by playing melody FF, accompaniment PP, and left hand mF, for example 

So in short, work on being able to play the accompaniment super soft regardless of the overall dynamic (this does not exclude playing it louder, should you choose to), and you'll get a wider range of colors and choices to play with.

[thirtytwo2020]

Well done!
I think what I'm going to say is more or less another way of saying what anacrusis already said - but my feedback would be that you should think about the purpose of every note and find a way of playing it that makes it serve that purpose.
The point of all these broken chord notes is to provide a harmonic background - you need to play them softer but also kind of make them blur into each other. As regards the melody, you need to make it ring out but also to create phrases - not playing each note with the same loudness but bringing the melody forward by rising and falling.

And I think you misread something at about 4:00 in your recording. The right hand should also return to a D flat just before the return of the A section

[quantum]

Good job.  You have a clear sense of melody, and project it well above the other voices.

The next step would be to work on phrasing, thinking of how a singer would phrase the melody.  There are a lot of eighth notes in this piece, but that does not mean it should sound like an unending line of eighths.  Just as we acknowledge punctuation when speaking text in order to bring clarity to the ideas presented, one also does so with music.  At the end of phrases one needs a breath to better signify the end of a phrase, but also to renew the energy to put new air into the next phrase. 

Bar 54, last chord is Db7/F.  Also take note how the LH doubles the RH.