Marik wrote:Yeah, tell me that... My heart sinks and hands get cold when I see microphones and have to play. That's why I never record at home--only live... when there is no choice .
I am even worse in live settings. Really, I should just go and live on a deserted island. Nobody else there - just me and a piano (and some good wine, of course... )
Marik wrote:Sorry, I was not clear enough. I meant B-flat played with thumb in LH in the beginning. It is just a harmonic filling, but often sticks out and gets on the way of the melody. By the "creek flow" I mean RH filigree.
You know what's funny? I am using sheet music that was printed in 1897. I didn't buy it (I'm not thaaaat old ), but I somehow just had it in a closet. I never studied the piece with any of my former teachers, either. What's funny is that someone marked lightly with a pencil "soft thumb" right on that very spot that you are talking about - the B-flat in the LH at the beginning. So okay, between you and the other mystery person, I have gotten the message.
@Eddy - I do have access to Grove and Oxford online, but have not found anything more that what you already stated. I did find a Doctorate thesis from someone online who wrote on Schubert's "Impromptus". Besides also telling about how the Op. 90 (specifically no. 1 and 2) were not titled by Schubert, the author states this:
However, it often comes as a big surprise to those who attempt to play Schubert’s piano pieces that his idiomatic keyboard patterns do not seem to fit the hands comfortably. Repeated chordal passages are often accompanied with difficult skips and thickness of texture; one needs to be cautious not to distract from the melodic line. Sudden shifts in register create orchestral effects but also cause technical difficulties. Scalar passages are sometimes scrambled by added chromatic passing tones, which result in awkward fingerings. Because of these difficulties, successful performance of Schubert’s pieces requires an unusual amount of patience and practice in polishing details, and, the music sounds satisfying only after an extremely high level of refinement is done.
Schubert’s two sets of four impromptus D. 899 and D. 935 are among the keyboard pieces to demonstrate his keyboard writing style, which is in part a product on the piano of the period. Understanding Schubertian keyboard idioms enables the pianist to learn how to cope with their difficulties and can lead to more successful performances.
Doesn't that last sentence remind one of the definition of an etude? Also, the last sentence of the first paragraph - ok, that's directed right at me, I know it!