Schubert Impromptu: Op. 90 No. 2 (E-flat major)

[aaronpetit]

Hi there!
I am releasing my recording of this piece at 3pst with some bonus program notes. It will remain on my channel after that.

Feedback appreciated.

-Aaron Petit

[pianistavt]

How do you come by a Fazioli !! ?

I listened to 30" of the performance - it was excellent, ultra smooth & polished,  Perhaps a bit too pretty and not enough emotional tension?

[transitional]

Well, pianistavt might have a point, but the interpretation is up to you. I really like your interpretation because there is lots of nuance and calmness. Lots of Schubert is "let the music speak and hide lines of tension below". At least that's how I would interpret it. Amazing job!

[aaronpetit]

How do you come by a Fazioli !! ?

I listened to 30" of the performance - it was excellent, ultra smooth & polished,  Perhaps a bit too pretty and not enough emotional tension?

It's not mine. I know someone with a Fazioli so that helped when it came time to record!

Thanks for sampling. I appreciate the comment. I see what you mean by "Pretty". But in my defense, it's a very repetitive piece that has the 30 second sample you heard 6 times. I save a lot of the "tricks" and variety for later. I figured starting simple is best.

That said, I will take it into account as I continue my growth with it.

[aaronpetit]

Well, pianistavt might have a point, but the interpretation is up to you. I really like your interpretation because there is lots of nuance and calmness. Lots of Schubert is "let the music speak and hide lines of tension below". At least that's how I would interpret it. Amazing job!

Thanks! I agree about that. Schubert isn't Beethoven. There is less internal drama and more on the surface drama (in general). No criticism. They are just so different and I don't see why they are compared so often outside of some figuration and harmonic similarities. In any case, thanks for the watch!

[brogers70]

Thanks! I agree about that. Schubert isn't Beethoven. There is less internal drama and more on the surface drama (in general). No criticism. They are just so different and I don't see why they are compared so often outside of some figuration and harmonic similarities. In any case, thanks for the watch!

I agree that Schubert isn't Beethoven. One difference, I think, is that Beethoven was much more optimistic than Schubert, lots of struggle and angst in Beethoven, but it usually resolves into something positive. Schubert, on the other hand, is pretty dark, even in a major mode, which is not surprising given that he knew he was dying young.

So in this Impromptu I hear, at first, a pretty cheerful, spring/summer scene, flowing triplets like a brook, sunny mood, then when you get to that circle of fifths progression starting in Ab minor, you get some nostalgia, maybe anticipatory nostalgia for what is sure to be lost. Then in the B section you get an image of death, a bleak winter landscape, cold winds, etc. But at that point it's just a thought intruding on the otherwise pleasant scene, which comes back and gets repeated. But then the coda accelerates, the wintry bits return, and even the flowing triplets get drawn into Eb minor. Winter/death comes sooner than expected and it's all over. Pretty bleak, I think. It's not that the opening, sunny, flowing bit isn't lovely and beautiful, but there's something ominous there almost from the start, and it becomes more intrusive throughout the piece.

[visitor]

Nicely done , enjoyed

[aaronpetit]

Nicely done , enjoyed

Thanks for the feedback!

[wildman]

I agree that Schubert isn't Beethoven. One difference, I think, is that Beethoven was much more optimistic than Schubert, lots of struggle and angst in Beethoven, but it usually resolves into something positive. Schubert, on the other hand, is pretty dark, even in a major mode, which is not surprising given that he knew he was dying young.

So in this Impromptu I hear, at first, a pretty cheerful, spring/summer scene, flowing triplets like a brook, sunny mood, then when you get to that circle of fifths progression starting in Ab minor, you get some nostalgia, maybe anticipatory nostalgia for what is sure to be lost. Then in the B section you get an image of death, a bleak winter landscape, cold winds, etc. But at that point it's just a thought intruding on the otherwise pleasant scene, which comes back and gets repeated. But then the coda accelerates, the wintry bits return, and even the flowing triplets get drawn into Eb minor. Winter/death comes sooner than expected and it's all over. Pretty bleak, I think. It's not that the opening, sunny, flowing bit isn't lovely and beautiful, but there's something ominous there almost from the start, and it becomes more intrusive throughout the piece.

Yeah, Schubert didn't really enjoy Beethoven's connections and straight up fame. He also wasn't a superstar performer. In a sense this is what makes him really attractive to me, he just wrote and wrote even if he wasn't super popular or financially stable.