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Impromptu No. 3 in B Flat Major (excerpt), Op Sheet Music | Franz Schubert | Piano Solo

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Impromptus (Schubert)

You are now registered as a user:. Your registration has been updated. Thank you! Performer Stuff has updated their registration process. Please provide the missing data. Allegro moderato. Bach, trans. I heard this in concert recently, performed by Khatia Buniatishvili, who brought delicacy, clarity and grandeur to this work which Bach originally conceived for organ. Liszt demonstrates his deep reverence for Bach in his treatment of the material: he takes no liberties with the music, but rather simply enhances what is already there, capitalising organ sonorities, and some bravura chromatic figuration.

Impromptu No.3 in Bb Major (excerpt), Op.142

Here is Khatia herself:. Schubert famously and tragically died young, at 31, possibly from complications arising from syphilis, yet in his short life he, like Mozart, and Chopin, and Mendelssohn, produced a phenomenal amount of work, not all of it complete, much of it sublimely beautiful, absorbing and endlessly fascinating. I learnt the E flat Impromptu no. My teacher cautioned me against learning, or rather re -learning something I had learnt in my teens, as despite the distance of many years, old mistakes would surely remain.

So, my strategy for studying this piece some 30 years since I first encountered it, was to treat it as a completely new venture.


  • Impromptu No. 3 in B Flat Major (excerpt), Op.142!
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I threw out my dog-eared Edition Peters score and purchased a new Henle edition. Of course, the fingers do remember what they learnt before, and in one or two places, I felt them straying into the forbidden territory of bad habits and sloppy or clumsy passage work, but, on the whole, I managed to avoid such errors, mainly by practising the less certain measures very slowly , in the manner of a Chopin Nocturne.

Jun Hwi Cho: Schubert's Impromptu Op. 142, No. 3 - Juilliard Sir András Schiff Piano Master Class

This technique was been particularly helpful for the trio section, which, in the past, I had a tendency to gallop through, over-emphasising the fortissimos and sforzandos , and not paying enough close attention to the melodic line which is still evident, despite the anger and torment. Much has been written on the connections between the works, and it is easy to drown in a sea of complex musical analysis and confusing hypothetical debate as to whether the pieces share connections and organised structures.

The first of the Opus 90, in C minor, opens with a bare, arresting G octave, and the ensuing lonely dotted melody sets the tone of the whole piece. The chill never really thaws as the music continually struggles to break free of that portentous, restraining G: it never truly succeeds, despite the lyrical and nostalgic A-flat sections. The warm, major key offers little real solace, as the harmonic progressions constantly drag the ear away from the resolution it craves, and any pleasant recollections are quickly forgotten by the return of the chilling tread of the opening motif, the tyranny of the G, and a horrifying attempt to finally break free.

The E-flat Impromptu suggests an etude, with its swirling, tumbling triplets, which need careful articulation to sound dancing, fluid and limpid. The streaming, scalic figures of the opening require wrist flexibility and suppleness, the wrist acting as a shock absorber to help shape the phrasing here. The longer melodic lines must be shaped and preserved at all times: despite the tempo, this is not a moto perpetuo exercise in the manner of Czerny! It is an Impromptu, and by its very name it suggests romanticism rather than rigour. As the RH ascends high into the upper registers, marked forte , the tone grows more hysterical and desperate, before the music descends to an angry, accented section, preparation for the drama and anguish of the Trio.

There are some moments of great melodic beauty and poignancy here, but the roughness and tension is never really smoothed, while a sobbing, repeated triplet figure acts as a bridge, leading us back to the opening material. There are storms — bass trills, and a shadowy, frequently-modulating middle section — before the music returns to the same flowing calmness of the opening.

And so to my favourite, the No. The final cadence is an emphatic A-flat major descent and two forceful closing chords. Home at last. It may be fanciful to assign such complex musical and thematic considerations to these pieces, but play them, or hear them, as a set, and I think the sense of a journey, and its eventual completion is evident, if only in the progressive tonalities of each piece. University of California Press.


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  • Impromptu No. 3 in B Flat Major (excerpt), Op.142.

In terms of learning and playing this Impromptu, I would suggest the following based on my current study of the work: The piece is organised in distinct sections and one will tend to learn it sectionally. Keep in mind the overall structure and narrative of the piece to produce a cohesive whole and be alert to the bridges between each section Be careful not to over-emphasise the forte, fortissimo and fz markings: remember this is Schubert not Beethoven.

I feel the dynamic contrasts are not as black and white as one would expect in Beethoven. Bars and also : here you want to try to recreate a sense of the underlying chords and chord changes. This section must not sound too dry. Keep the touch light and the RH semiquaver arpeggios delicate. Bars and also : after some discussion and experimentation with my teacher, I try to keep this section light and rhythmic there is a danger of making the textures too thick here because of the chords.

Although Schubert marks it sempre legato, the staccato markings suggest that one should continue in this vein throughout this section. This gives the chords a wonderful dancing lightness. But be sure to observe all the legato markings very diligently. Extract 2 Bars and also : this is the emotional heart of the piece — plaintive duetting fragments in treble and bass, accompanied by gently rippling semiquavers in the RH.

The accompaniment must not intrude, but it is also important to retain a sense of the underlying harmonies and chord changes. Meanwhile the duet played by the LH only should sing, with careful shaping in the fragments. Here is Pollini: Nocturne No. Here is Perahia: Impromptu No.

Allegro moderato Bach, trans. Subscribe to my Newsletter. Search for:. If you find joy and value in what I do, please consider making a donation to support the continuance of the site. Follow Blog via Email Enter your email address to follow this blog and receive notifications of new posts by email. Join 9, other followers Follow. Instagram Lily.

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