I think I've got down most of the technical issues. Lots of time over Christmas break though to Richter's not too bad. I just finished reading/memorizing today, so it will be a while before I can post a rendition in reasonable shape. I might be the only person who feels this way, but I just don't like listening to this piece. *I want the piece to be exciting, but at the same time, true to the music, and not completely ridiculous.
Thanks Should have read my post over before posting. I'd be very interested if people could just have a discussion of some sort about this piece. I want the piece to be exciting (which, at ~11 minutes, can often not be the case) yet at the same time exciting. Garrick Ohlsson is the only one who plays it "right" imo, but his interpretation is generally quite boring. I do think that, structurally, it is quite weak, and so I'm trying to find a "right way" of playing, or at least at this stage, thinking about how I want the piece to sound. Almost everybody plays it with crazy "rubato," blatantly, imo, trashing much of the music. I have never heard a version of this piece that I like. Soon I will have to start working on the actual music. I'm almost done reading/memorizing, have overcome, or at least, become familiar with the technical challenges presented. So right now, I'm working on Chopin's second scherzo. The remaining bars (Bars 110-124) are based on diminished seventh broken chords.This is my first post here, but I wouldn't consider myself "new" to the forum because I've been reading the threads here for such a long time. Returns to B minor in Bars 1101-109, with a dominant pedal and some chromaticism, ending on a dominant ninth chord in Bar 109. B:īars 69-124: Agitato. Begins with a sequence based on the rhythm and figurations of the main theme, using the chord progression iv-V7-I in D major (Bars 69-72), F sharp minor (Bars 73-76), and A major (Bars 77-79).įollowed by another sequence, using a French augmented sixth and dominant chords of C sharp minor (Bars 80-81), C minor (Bars 82-83) and B minor (Bars 84-85).īars 86-101 are in F sharp major (dominant major) with a flattened sixth (D natural), with perfect cadences in Bars 92-93 and 100-101.
E sharp in Bar 27, G sharp in Bar 29) but no modulation.īars 44-68: Interlude, softer, with occasional loud outbursts, all in B minor, ending with a perfect cadence in Bars 66-67. Bars 29-32, 37, 39, 41, 44), and some chromatic unessential notes (e.g. The passage which follows is all in B minor, with a dominant pedal in Bars 25-36, frequent diminished seventh chords (e.g.
Bars 9-44: The main theme is heard in B minor with tonic pedal in the bass (Bars 9-16) then E minor with dominant pedal in the bass (Bars 17-24).
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