| Unfortunately, I have yet to find myself at technical odds with these pieces (as the most pianistic pieces of Chopin I have done are Waltz in C# minor, Waltz in e minor, Mazurka in b minor, and Military Polonaise) but I believe the minor section of the impromptu should be fiery especially and namely before the beginning of new phrasing, a slight slowing down and picking up again of the same fire to bring the listener in is always good for one's ear. The major section of course should have a good singing right hand and some anticipation before new phrasing or repeated phrases to keep the listener intrigued.As with any piano piece? Focusing into the keyboard and never away as well as letting the natural weight and use of fingertip action preventing extra arm stress will always be one's savior.I'm only a student at college working my way up right now, but that's what I have to offer (The only hardest pieces I've played so far are Rachmaninoff's polichinelle and Weber's "Perpetual Motion" so what do I know?) thanks for the insight, i'm sure you're a terrific pianist. :-) |
[**mood** |
hopeful]i have a recital this sunday and i'm playing barcarolle op. 60. last year i played fantasie-impromptu and i have to outdo myself (even though it's just for other students and their families, haha). i've been working on it forever but i still feel like it's missing something- if you're familiar with this song, pleeeeease give me a couple pointers! thanks :-)