That's right, don't worry. This is the last time I submit this and I probably the last thing I submit for a while.

This piece has nearly driven me crazy the past couple weeks. And also I have discovered that it is a very good way to lose weight. I know that sounds silly, but it's true. I weighed myself after I was done recording and I had lost two pounds! But a little warning to everyone...make sure you eat a big meal before trying to record. This took me a couple hours of recording take after take, and at one point I thought I was going to faint because I felt weird; like sort of lightheaded and I saw stars floating all around above the piano.

Anyway, I tried to get my speed up, but this is fast as I ever want to play this piece. I do not subscribe to the notion that you have to play so terribly fast and then it's okay if your runs are a little unclear and sloppy. Or you claim you intentionally applied the pedal in such a way that makes the runs unclear. I don't buy that. Maybe my runs are a little notey and may sound like an exercise/etude, but you know what? I like them that way! I like clear runs. I think I always have, but was never brave enough to say so. Yes, I LIKE CLEAR PLAYING!! (there...had to get that off my chest...)

Schubert - Impromptu in E-flat Major, Op. 90, No. 2

"A rose by any other name ..." I for one consider it an etude. Just throw away the title and look at the music. Exactly how is it not an etude?

Some of my favourite pieces are called "Etude". There's no reason why clear playing and good musicianship can't go together.

Before listening, let me say a thing or two: I agree that clear playing is more important than playing at breakneck speed. Often speed is a wonderful way to hide errors and imprecisions. Just Follow any of the better acrobats of the piano and pick up the dropped notes as they fall. A basoonist firend of mine once had to accompany a known pianist (I was not told who and with orchestra, of course) playing one of Rachmaninoff's concerti. He says it was the slowest version he had ever heard but also the loveliest and the he had never realised what gems were hidden in the concerto, because at top speeds they just could not be heard. After the concert they spoke and the pianist said "of course few people dare to play slowly, but how many will dare?"

Now I shall listen to your attempt.

Monica, I think you did a good job here. Apart from the opening section where the RH runs have sometimes unnecessary accents and some unevenness (which aren't heard at the repeat any more), I enjoyed your listening. I espeacially liked the amazing dynamic control at the section B.

This is a good version. To me it seems a comfortable speed and I surely would not enjoy it any faster. Do I detect a slight spedding up starting from bar 271? I would have mantained the same tempo till the end. You also make a ritardando on bars 50 and 51 whereas I would have not taken that liberty.

Overall I enjoyed it.

Exactly!


Exactly!


Hye-Jin, you listened to all three of my attempts and always had a suggestion. Thank you for all that!
Thank you, Richard. My little rit. is not written in, but is intentional on my part.

Bars are not marked in my score, but if you are talking about that you detect some speeding up at the 17th bar from the end, then I am very glad because it's marked accelerando from that point all the way to the end.

Absolutely! I hope you didn't think I meant otherwise.

I thought the ritardando was intentional.

Accelerando? Which edition do you have? I have two, one an urtext, and neither has any such marking and I am not sure I have ever heard it played that way.

I have just played this for myself (I did not get too far) and this is the speed I would like to give to it myself, once I manage not to hit wrong notes! And no, no ritardando.

Each one to one's taste!

'Well that is mighty strange, because EVERY recording I have heard has the accelerando in it. Also, EVERY score I have seen 'shows; it, including the two on IMSLP. And really, you just have to have it there! It would not end as great as it does, otherwise.

Hello Monica,

There are many good things in this performance. The middle section (or the contrasting section) has at times some real bite to it. It is effective. I think you can do more of that interpretive approach and use that sort of passionate tone more consistently throughout the B section..

As far as the runs go, there are times when the musicality of the piece truly comes through in the line. I feel that you can bring out the musicality more by relaxing your wrists, hands and worrying less about the fingers. Being relaxed will aid you in your quest to bring out the beautiful melody to your potential.

You can do it Monica. I know you can relax more when you play. Think of weightless thumbs and wrists.

I think the tempo is very tasteful and appropriate.

Thanks for sharing.

Kaila Rochelle

Hi Monica, this is so significantly improved from your previous posting! I didn't save the previous one but only listened to it as a direct download from the server so I can't do a full comparison. However I do think that the runs are much improved. I don't know quite what you've done, whether it be with the pedal or using a more legato approach, but the individual notes now sound much more connected and it makes more musical sense. There are a few rare moments where the triplet articulation isn't absolutely spot on, but I had to listen pretty attentively to catch them. The best part of all is the middle section where there is much more contrast and interplay between loud and soft - I think you have got this spot on. Well done on a thoroughly musical rendition.

Hi Monica,

I've never played 90/2, only No. 1. I didn't catch your original recording, but listened to this effort just now and thought it was a very good rendition indeed. I agree with your point on clear runs. I'm a firm believer that clarity is paramount in articulation, voicing, pedaling and all other elements of artistic playing. Your playing of this impromptu was very fluent and expressive. Everything you brought to the piece enhanced musicality. Great work, Monica!

P.S. And I'm glad you didn't fall off the bench!

@Kaila - You are right on about relaxing the wrists and thumbs. Sometimes before I start off playing something like this, I tell myself to forget about everything and just play like there is no one listening. When I actually pay attention to that, I play much more smoothly. Trouble is I don't stay in that relaxed state for long. Thank you for the encouragement, though. I really appreciate it!

@Andrew - Thank you also for your continued interest and help in how I can improve my playing . I'm not totally sure of what I did that made this version sound so much better than the previous two, except I just practiced more. Actually, I think I have the piece memorized without meaning to...

@David - Thank you for the nice remarks. As far as falling off the bench - it was close for a minute or two. That would have made a really funny video!

Yeah, the video!