The articulations in Schubert Sonata D960

Published in November, 2021 in the category Interpretative Pills

Articulations can actually help us understand the phrase’s form that the author had in mind. 

In the first eight bars of the first movement of Schubert's Sonata D960, the author indicates many things through the slurs.  

For example, it is evident that the first part of the initial phrase arrives at bar two, at D, where there is a dissonance in the left hand which creates a resonance with the right hand.  …

Legato touch in Chopin's Etude Op. 25 N. 7

Published in September, 2021 in the category Interpretative Pills

It is well known that the notes of the piano decay in intensity, losing resonance.  The impossibility of sustaining a sound with a crescendo is in fact a limitation of the instrument.  And it is precisely this limitation that makes the making of the legato so difficult. 

Chopin's Etude op. 25 N. 7 begins with a melodic line entrusted to the left hand, apparently simple because it lacks other notes to …

Rubato in Chopin's Nocturne Op. 9 N. 1

Published in July, 2021 in the category Interpretative Pills

Rubato means managing the rhythm flexibility, therefore varying the duration of the written notes. 

Used as a concept of flexibility and elasticity of tempo it naturally becomes an instrument of expression. 

Being the consequence of a feeling, it expresses a state of mind which becomes more definite in its expression. 

For this reason rubato cannot always be done, and it cannot always be done the same way. 

No pianist begins Chopin's Nocturne Op. 9 …

The imitation of other instruments in Paganini/Liszt's Etude "The Hunt"

Published in June, 2021 in the category Interpretative Pills

Apparently the piano is not a multi-timbral instrument, but in reality, being an instrument rich in nuances and potential, it allows to evoke many other sounds and many other instruments of the orchestra based on the imagination of the player. 

How is it possible to imitate the sound of another instrument on the piano? 

Trying to imitate the attack mode of the sound and the way of phrasing that each orchestral instrument …

The accentuations in Mozart's Concerto K 488

Published in May, 2021 in the category Interpretative Pills

To make the most of Mozart's music, it is of fundamental importance to observe all the accentuations with great care. 

It is very common for pianists to accentuate the first bar of a phrase while, on the contrary, very often the main accent of the phrase lies on the second bar. This is the case of the very first few bar in the soloist’s entrance of Mozart's Piano Concerto K 488

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