This past year I learned and twice performed Beethoven's Variations and Fugue in Eb, Op. 35, commonly known as his Eroica Variations, as the theme of the variations is the same theme as the finale of his 3rd Symphony, also titled Eroica. This was never a dream piece of mine per se. A friend of mine had played it in our undergrads, and I heard Jeremy Denk do it live once. But it's not a piece I knew much about, nor one that I could "hear" in my ear (besides the theme). I knew it existed, but beyond that, my mind was a blank slate.
So last summer, I decided to learn it, and keep my mind free of the interference of other interpretations. (I discussed the problem of being influenced by recordings in my Artistic Messages blog series last fall, particularly #4.) I thought this would be an ideal piece to see exactly how much my artistic voice would differ from that of others: this is a significant, virtuosic piece by an iconic performer, but one relatively unknown to most people.
While learning the variations, I listened to just a couple people start the fugue to get a sense of their tempo, that's it. I didn't listen very long, and I tried to ignore all other details of their playing, beyond what I needed to satisfy my discomfort with my own tempo choices. Otherwise, to this day I haven't had any influence from other recordings of this piece. (Though full disclosure, I have played this piece once for my former teacher Thomas Rosenkranz, and twice for my coach Louis Nagel. Both mentors gave invaluable help and advice, yet neither works with me in such a way as to fundamentally change my interpretations. I see their influence as clarifying my vision of the piece or helping me reach that vision more efficiently).
Here's the very first performance of that piece, from my Choosing Joy recital in February.
Bass plus one voice: 1:20 area-I debated a lot whether to bring out the bass, or the 'new' section-the duet. Here I'm not consistent enough with either, though I do like bring out the difference: the duet.
Bass plus two voices: 2:10- I like the dialogue here!
Bass plus three voices: 2:45- I had a memory issue of a different variety in my 2nd performance of this piece too.
Theme: 3:25-I'm pretty happy with the phrasing here, though some of the passagework needs cleaning up. You need this jolly feeling here, but the arrangement and texture is really heard!
Variation 1: 4:05- It's so easy to over rely on the pedal here, but I'm glad that I'm not!
Variation 2: 4:45- of course Beethoven would make one of the hardest variations the second one. I'm quite happy with the tempo and cleanliness of the A section especially. I don't love arpeggios, but am glad it's in the key of Eb, and not C or F#. The mix of black and white notes helps a lot.
Variation 3: 6:09- there's a really tiny memory slip I'm proud to have played through.
Variation 4: 6:30 area- I've debated about playing different tempos in these variations, even with such consistency in sixteenth notes in these first four. But it seems to me they're so completely different in character, that I just need to "help" their differences a little bit.
Variation 5: 7:05- Tempo especially different here, I want to milk these juicy intervals in conversation.
Variation 6: 8:00- Just the week of the performance I was having major memory problems in this variation, so I'm glad I rectified it here. I'll take some unclean broken octaves instead. And again, success in not over-relying on the pedal.
Variation 8: 9:20- A precursor to Waldstein Sonata's finale. Everyone kept telling me to use more pedal here. I like the sound, but maybe will experiment with going further in this direction.
Variation 9: 10:08- for me probably the 3rd hardest variation. Playing these chords, with such short articulation, but still making them beautiful. Not a very successful performance, though the B section was better than the A.
Variation 10: 10:50. Actually one of my favorites. Besides the false, I like how it went. I'm trying to displace the meter as much as possible, each hand disrupting the other.
Variation 11: 11:30 ish. Another favorite. Such a mundane melody, simple accompaniment. I actually had a lot of memory problems in the B section while learning it.
Variation 12: 12:20- I guess tied with 9 for the 3rd hardest variation. My hands don't like to adjust to new hand positions so quickly, but then to play broken chords too, this could have gone worse.
Variation 13: 13:06- it's up for debate whether this or #2 is the hardest variation. I'm still not convinced about how to use the pedal here. I'd take this kind of accuracy; I only completely missed the right hand note once, and a couple other times it was a little messy. I could have slowed down a tiny bit more and no one should complain, but gosh I really want to keep the energy going like I did here.
Variation 14: 13:45ish- I wish I'd changed the mood more here. This should have been slower. But I like the voicing, and how I hold onto dissonances.
Variation 15: 14:42- Very hard to memorize, and to phrase. And to count. I think I found a nice balance in the A sections between the short phrase articulations from Beethoven, but still maintaining a longer line.
Fugue: 20:19- There's nothing so intimidating to me than performing a fugue from memory. My Master's recital had 3, including a 5-voice fugue. Listening to it now, it's been nearly 4 months since I last performed this piece, and I've read through the fugue maybe once or twice. It feels like a foreign piece! I can't 'feel' myself playing it as I listen, as I can with most of the variations. I'm impressed with the speed I have here, but I'm worried that relearning it is going to be very difficult! I'm very happy with a lot of the voicing and articulation, and besides a couple slips, the memory is quite good. This fugue is also difficult because it's so easy to play it all fast and loud. You want the feel of eroica, but without banging. Pacing is so important, and I feel like my performance doesn't get monotonous.
Post-variation 1: 22:42- I never feel like I have great trills, but I really liked the sparkliness of those at 23:27.
Post-variation 2: 23:38- My left hand melodic chords get very rhythmically monotonous, every repetition of the rhythmic device gets the exact same stress. When my right hand moves to 32nd notes at 23:53, I like the phrasing of the left much more.
Overall, I like this performance a lot more now, than when I did a couple of weeks after it happened. I think I capture the distinctiveness of the variations so that this doesn't feel like a long piece. There's enough sloppiness that I'm eager to fix and it's nothing that a 3rd and 4th performance of the work won't fix!
Daniel Hsu happened to be about an hour away this past Sunday afternoon, at a concert hall I'd never seen before, in Findlay, Ohio. Beautiful hall and beautiful Bosendorfer piano. Daniel Hsu was my favorite Cliburn competitor last spring so I had to make the trip.
I still loved his playing these many months later, probably more than before. I was rereading some of my comments about him (see the rest of the Cliburn Competition Reports categories) and during the finals, I commented that it was as if he was playing the premiere of the Tchaikovsky concerto. His playing just has so much freshness but also naturalness.
My favorite had to be the Chaconne. It sounded more like a set of variations than I'm used to hearing, and that's a very good thing. Every single variation felt like an original composition with it's own unique voicing, subtleties of rubato. But it still held together and was clearly a single narrative. I've rarely ever heard the piano sound so much like an organ: layers of sound all emanating from the same source (I say this to differentiate from sounding 'orchestral' at the piano), but beautiful layers that were phrased individually and as a whole.
He had some beautiful things elsewhere, of course. I was particularly drawn to lyrical melodies in the opening of the Chopin Fantasy. Where Chopin added a countermelodic harmony in the right hand, Hsu voiced them so subtly as just a tinge of color, instead of a full fledged second voice. I've been teaching about spectral music in both my piano repertoire class and with a private student, and specifically how these composers seek to alter our perception of the piano's timbre by specifically voicing complex, dissonant chords. It is a remarkable affect that does work, and Hsu seemed to capture an element of that: not letting the countermelody compete with the principle one.
I found him focusing a little too much on the "dance" side of Chopin's famous 'concert-dance': his agogic accents were a little redundant for me. But overall his playing is imaginative, clean and energetic. Pictures sounded nowhere near its 30-minute length, and everything from the most bombastic to the most simple was given a thorough, thoughtful musical treatment.
On March 23rd, I had the pleasure of seeing a recital by Joel Schoenhals, a pianist I’ve happily gotten to know this year. He’s embarked on a couple remarkable projects: performing all 32 Beethoven Sonatas in 8 programs over 4 years, and now the Bach Partitas and Brahms short pieces on 4 programs over 2 years. This concert was the last of that latter series.
I’d encourage you to check out the write ups that he has linked on his website about learning the Beethoven cycle (here and here). I love his dedication to the music and sharing it in both intimate and large environments.
I also appreciate that he has focused on presenting complete and unedited performances of these concerts online. He sure doesn’t make many mistakes-whatever that term even means!-but the musicality and personality from doing it live is so engaging. I’ve never done studio recordings where every mistake can be rerecorded and spliced in, but I love the magic, the humanness of live performances.
Check out the back catalogue of all of his recitals. What I love about Joel’s playing is that I’m always drawn in to what he’s doing that it never occurs to me to question or criticize his playing. I’m not actively thinking about reviewing or analyzing his playing as a musician myself. There’s something in his playing that invites trust in the work that he’s done and the performance journey that we’re on together. The music exists and for whatever period of time that he’s playing, it needn’t exist any other way.
This was especially evident in the Brahms Ab Waltz that he played as an encore. You can check out his performance of the whole set here.
Years later and I love all kinds of contemporary music, and I've listened to Dawn Upshaw singing all kinds of things, and I've discovered this incredible pianist Gilbert Kalish who has done so much for legitimizing modern music through a historical context. Last night, I was able to hear these two iconic artists together in recital.
I have been unable to put much on my blog the last several months, but given that this week I have 3 marvelous concerts I get to go to, and my performing obligations are winding down for the year, I wanted to reflect on some of this music that i'm hearing. I'm less interested in giving concert reviews, than turn to some short-form thoughts and impressions from these performances.
Rarely will I ever get to hear such remarkable artists live. The communicative effort of both Dawn Upshaw and Gilbert Kalish was clear from the very first notes either of them gave in the recital. Their collaborative partnership is clearly affectionate and respectful.
I was explaining to my Dad-who accompanied me-what it was that made someone like Gilbert Kalish a better pianist than me. It seemed that the best thing I could suggest was that he has such wisdom in his playing. He's able to communicate his interpretation so clearly and so naturally, that I feel no need to consider any other interpretive choices. I could fully entrust his musical decisions. I don't know how much of this comes from someone who has performed, recorded and taught as much as he has, and how much of it he had when he was my age, but I can only hope to gain such wisdom as I continue to work.
Dawn Upshaw...Well, it was a dream to hear her voice live. I'm amazed at her clear language: She sang (and memorized!) a set of songs by Bartok, and between her diction and acting, I might have convinced myself that I understood Hungarian, were I not following the original and translated poetry in the program. Like Kalish, the musicality and poetry are so present. She rarely had to use her full voice in this program, but that didn't mean every note wasn't stunning and expressive. For all our talk as pianists of having a 'singing tone', she was able to utilize such direct softness in her tone, which still filled the room.
"Modern performers seem to regard their performances as texts rather than acts, and to prepare for them with the same goal as present-day textual editors: to clear away accretions. Not that this is not a laudable and necessary step; but what is an ultimate step for an editor should be only a first step for a performer, as the very temporal relationship between the functions of editing and performing already suggests." -Richard Taruskin, Text and Act