Impromptu No. 4 in B-flat Minor

Impromptu in B-flat minor (Cotton, Aaron Alexander)

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How Much Have You Seen? Known For Paycheck Soundtrack. Soundtrack Music department Composer Thanks. Nocturne in B-Flat Minor", "Op. Nocturne in E-Flat Major", "Op. Nocturne in B Major", "Op. Nocturne in F Major", "Op.

Impromptu for piano in B flat major, D. 935/3 (Op. posth. 142/3)

Nocturne in F-Sharp Major", "Op. Nocturne in G Minor", "Op. Nocturne in C-Sharp Minor", "Op. Nocturne in D-Flat Major", "Op. Nocturne in A-Flat Major", "Op. Nocturne in G Major", "Op. Nocturne in C Minor", "Op. Nocturne in F Minor", "Op. Nocturne in B Major".

Good Day Sunshine writer: TV Series writer - 1 episode - Su Pollard TV Series writer - 1 episode - Ascension Allegro Vivace" - uncredited. The Final Solution Show all 10 episodes. Lento in A Minor" - uncredited. Chopin, "Nekhome Solace ". Show all 8 episodes. The Soul Is a Stranger on Earth writer: Exploits of a Hollywood Rebel Documentary writer: The Movie II music: Posthume en La mineur". Otto Dekein's Original Design writer: Chopin, "Nocturne en Fa Majeur Op. Allegro Maestoso", "Waltz No.

At this low point, we have only to let music itself take charge. For every challenge we can possibly want lies before us in the vast and inexhaustible repertory that cannot but replenish our spirit. For true musicians, depression is temporary because their music is permanent. Two days after my exam, I went on holiday for week, but I did read some scores on my iPad, listen to music and think about the repertoire I wanted to look at on my return. Chopin — Nocturne in E major, Opus 62 No.

The second of the set opens with a stately yet lyrical theme before a more restless middle section. Schubert — Impromptu in F minor, Opus No.

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I first learnt this a few years ago, and then lost interest in it. Schumann suggested that this Impromptu could form the opening movement of a Sonata — it certainly has the feel of a Sonata in its varied gestures and textures, yet it stands alone perfectly too. 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: 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.

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. 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: 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: 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. This is not prefigured at the outset, rather the protagonist, the meandering fremdling of these four pieces, must strive for eventual and gradual disclosure: The final cadence is an emphatic A-flat major descent and two forceful closing chords. 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.

Fisk, Charles — Returning Cycles: University of California Press.

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Daverio, John — Crossing Paths: 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: I feel the dynamic contrasts are not as black and white as one would expect in Beethoven. Bars and also This section must not sound too dry.

E xtract 1 Bars and also Keep the touch light and the RH semiquaver arpeggios delicate. 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 The accompaniment must not intrude, but it is also important to retain a sense of the underlying harmonies and chord changes. Keep the hand soft and the wrist flexible:

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