Playing through Chopin’s B minor Waltz with its sighing motif (Video commentary)

http://arioso7.wordpress.com/2012/02/02/playing-through-chopins-b-minor-waltz-with-its-sighing-motif-video-commentary/

Last night I sat myself down at my imperfectly regulated Steinway M grand and managed to sigh several times through torrents of phrases crafted by design and inspiration to tug at the heartstrings.

And in the video below, I journeyed in baby steps through this intensely emotional landscape pinpointing how I could flesh out the SIGHs that spill from recurrent tied notes in Chopin’s somber Waltz in B Minor, Op. 69, No.2. (The singing tone–molto cantabile-is intrinsic to this music)

http://www.youtube.com/watch?v=El9lkjHo_UE

It seemed natural to draw a comparison to the violin in the execution of such repetitive figures. If I had a bow in my hand I would delay entry into the string and follow through with a deliberate broadening of the tone. (I spent six years of my life studying violin noting its carryover to the keyboard)

No doubt it’s easier to draw a slow bow than to translate this effect to the piano, but a pianist can accomplish the same by entering a note from below using a dipping wrist.

The permeating tied notes that seek relief in a curve down, dissipating motion flow into a contrasting middle section in D Major, marked con anime, with animation. Here the notes are lifted and configured in groups of three leading to a longer note.

To realize the vibrancy and unique character of the dotted-quarters springing from the shorter eighths, still another delayed entry into these longer ones is suggested. But just as conspicuous is the circular motion of the phrases that move the composition along. To best flesh out these shapes, I enlist the right elbow to swing in and out in counter-clockwise movement.

In measures where there is a sudden note-wise build-up in passion and intensity (forte outpourings, along with a staccato, or PORTATO) I find that broadening these streams of notes thwarts a tendency to crowd them. And allied to this more relaxed, freedom of expression is a tasteful application of rubato.

A second interlude in the B minor Nocturne utilizes the Parallel B Major key, giving the composition a lift. But no sooner than our emotions are plied, we are pulled back to the somber opening theme with its elaboration that closes the composition in sighing despair.

I consider this Waltz a favorite of mine and dote upon Artur Rubenstein’s reading on You Tube. His performance has a disarming simplicity, framed in a relaxed tempo. In all, the master takes about 4 minutes to weave his poetry with the grace and beauty he’s known for.

LINK:

What Pianists can Learn from String Players

http://arioso7.wordpress.com/2011/09/14/what-pianists-can-learn-from-string-players/