Back to the Piano

Musings of a Casual Pianist

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Two Moment Musicaux

May 29, 2024

Continuing my publication A Moment with Schubert from almost a year ago, with the first Moment Musicaux, D 780, I now present the next two pieces of this set.

I studied these pieces last year, but ended up postponing the recordings due to an out-of-tune piano. Now, several good months later, I have revisited them, and here are these beautiful pieces: First, the Moment Musicaux No. 2 in A-flat major, a lyrical and reflective piece with explosive moments and a return to contemplative quietude—this piece is harder to execute than it appears. Then, Moment Musicaux No. 3 in F minor, an iconic and dance-like piece that brings a cheerful melody and Schubert's captivating charm.

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N. 2 Adantino in A-flat major

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N. 3 Allegro Moderato in F Major

These recordings were made in Curitiba, around March 2024, on a Yamaha U1J piano using a Shure MV88 microphone.

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Bach's Three-Part Invention in G major

April 27, 2024

After two years of study, I've hit the inevitable first bump in the road in my study program. Life got in the way—as it often does with work—causing some delays in my recordings, and an out-of-tune piano pushed things back even further. Nonetheless, after a few months of ritardando, here I am, back in tempo, resuming the recording of the latest study pieces.

After going through Bach's little preludes, I vaulted to the three-part inventions. I can hardly begin to enumerate the difficulties of this piece, as beautiful as it is challenging. A more cautious pianist would have devoted themselves to at least a few two-part inventions before tackling the three-voice polyphonic pieces. However, I had resolved not to go back to past pieces, except in rare cases, and having studied all the two-part inventions in the past, I moved on to the three-voice ones.

I aim to play Bach cleanly and articulately: sometimes with clear and well-defined notes, sometimes using legato to connect medium phrases, and sometimes with long notes that sustain while a second or a third melodic line overlaps it. My teacher used to explain that the melodic line should resonate 'within' the note sustaining the upper melody. Back when I was 13 or 14, I didn't quite understand it. Now it seems to make sense.

Despite aiming for clarity, I indulged in a bit of pedal to enhance the sonority. Purists might say there's too much pedal, and they may be right. I'll try to use less pedal in the next piece. Nevertheless, this is my first step into a more complex repertoire of Bach, and even if I haven't achieved perfect articulation and pedaling, I'm still pleased with the overall sound and character of the piece. I am now moving on to explore the next inventions in the book.

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This recording was made in Curitiba, in April 2024, on a Yamaha U1J piano using a Shure MV88 microphone.

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Moszkowski, Petit Etude Op. 91, No. 7

August 7th, 2023

Here is another piece from Moszkowski’s Petites Etudes: number 7 in G major. This piece clearly represents a leap in technical difficulty, featuring both scales and demanding sequences of arpeggios with overlapping dissonant melodies, creating a beautiful ‘cascade’ effect typical of Romanticism. It was quite a challenge, but it has undoubtedly become my favorite Moszkowski piece so far.

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This recording was made in Curitiba in July 2023 on the Yamaha U1J piano with a Shure MV88 microphone.

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Another Little Prelude

07/01/23

After thinking I had finished the Kleine Präludien, I stumbled upon this small and graceful piece by mere chance, the Prelude in C BWV... I couldn’t resist. Thus, I recorded one last piece before moving on to new Bach’s repertoire. With this, I close the book of the Little Preludes, at least for now.

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This recording was made in Curitiba, in February 2023, on the Yamaha U1J piano with a Shure MV88 microphone.

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A Nocturne by Chopin

June 2, 2023

I came across the Nocturne Op. 15 No. 3 in G minor while browsing the Chopin at the Piano – 17 well-known pieces by Henle Verlag. Following the suggested progression in the book, I skipped some dusty pieces I had studied in the distant past and found the one that seemed perfect for my next challenge.

I had heard recordings of this Nocturne before, but I had never given it the attention it deserved. However, before seeking out recordings, I decided to try it out myself. I sat at the piano for a first reading of this deceptively simple score, which, over the course of days and after second and third readings, began to reveal fascinating nuances. I carried on.

The piece starts off somber with a peculiar, broken rhythmic character. After some study, I discovered that the rhythm evokes a slow-paced mazurka, which gives this Nocturne a unique quality. Chopin always incorporates contrasting elements in his Nocturnes. In this case, it is the central section with somewhat dissonant harmonic sequences that culminate in a troubled segment that fades away only to be reborn in a “religious” chorale, suggested by repeated beats resembling the tolling of a bell.

It is a fascinating piece with surprises in the details.

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Recorded in Curitiba in May 2023 on a Yamaha U1J piano using a Shure MV88 microphone.

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A Moment with Schubert

04/01/2023

Schubert seems to condense everything music offers in just a few measures. Elegance is the word that springs to mind.

Somewhere in history—specifically in the history of music—amongst giants like Beethoven and Mozart, there dwells a composer named Franz Schubert.

Often cited in the encyclopedia as belonging to the late classical period, I tend to think that Schubert has one foot in the classical and the other in the romantic, still at times he seems to have both feet firmly grounded on romanticism. Only by immersing oneself in his music can one utterly understand.

Schubert is a fascinating character: anonymous to the public of his time, he was loved by a select group of friends who provided him with support.

A prolific composer, Schubert wrote tirelessly, but fell short in other areas of his life. Unsurprisingly, his financial situation was catastrophic, a common pattern among many great artists throughout history.

To help the poor genius, music-loving friends supported him and provided him with housing; Schubert repaid them with nightly soirées, affectionately dubbed “Schubertiades,” masterfully portrayed in Julius Schimidt’s painting.

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I remember the late Gilberto Tinetti in his excellent program “Pianíssimo” on Brazilian Rádio Cultura. Tinetti described Schubert’s daily cycle was as follows: at night, he played songs and improvised with new ideas; the next morning, he wrote down the themes from the night before; in the afternoon, he strolled in parks and read outdoors.

For Schubert, composing was so commonplace and natural that, careless with the works scribbled on lined paper, now and then he lost them in his wanderings between parks and taverns in Vienna.

My passion for Schubert was ignited when I first heard anthological recordings by Alfred Brendel, Maria João Pires, and Vladimir Sokolov on Radio Cultura. They brought to life Schubert’s Moments Musicaux, Impromptus, and the sonatas heavily influenced by Beethoven—a composer that Schubert admired most—but infused with their own character and color.

During my study cycle between 2006 and 2009, I practiced one of the Impromptus. Now, it was about time to explore the Moments Musicaux, which I admire for its rare combination of clarity, simplicity, and lyricism. The Moment in C Major is a particularly perfect example. Its simple opening begins with an airy melodic line that later reappears in a graceful counterpoint section and culminates in a resounding succession of soaring chords. Schubert seems to condense everything music offers in just a few measures. In trying to describe his style, elegance is the word that springs to mind.

During my studies, I aimed for a classical technique in my fingers and a romantic interpretation in my heart. Inspired by Brendel and Jõao Pires, I embarked on my humble rendition, working to refine my dynamic control to meet the demands of the musical material. The Yamaha U1J provided invaluable support with its greater range and fuller sound compared to my old Schneider.

Recording this piece was an enchanting experience, and I look forward to further exploring Schubert’s repertoire.

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Recorded in Curitiba, in March 2023, on the Yamaha U1J piano with a Shure MV88 microphone.

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Moszkowski Petit Etude, Op. 91 n.6

21 de março, 2023

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Studying Bach and Schubert

March 03, 2023

Bach and Schubert have found a home on my piano stand. I’m in the midst of working on a Prelude and a Moment Musicaux. Although I planned to move on to other pieces, I couldn’t resist picking up another prelude from the little prelude collection. These pieces have been an absolute delight to practice.

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Moszkowski Petit Etude, Op. 91 n.5

18 de fevereiro, 2023

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Finalizando os pequenos prelúdios

Fevereiro de 2023

Com esta peça, o prelúdio em Fá maior do Kleine Präludien, finalizo a passagem por este caderno de Bach. Tive ótimo proveito com esse livro, escolhi peças adoráveis e, nesta última em particular, acho que evoluí no fraseado e articulações de Bach, comparado às anteriores. A próxima parada será revisitar algumas invenções à duas vozes.

Essa gravação foi feita em Curitiba, em fevereiro de 2023, no piano Yamaha U1J com um microfone Shure MV88.

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Reencontrando Chopin

Dezembro de 2022

Finalizo o ano com duas singelas valsas de Chopin tiradas do livro de Chopin at the Piano – 17 well know pieces, da Henle Verlag: a Valsa em Si menor, Op. 69 n.2 e a Valsa em lá menor, B150, Opus Póstumo. O livro é uma conveniente compilação de peças, desde as mais simples, até as de nível médio. No passado, cheguei a tocar alguns Noturnos e a Fantasia Improviso, que foi uma das peças favoritas e mais desafiadoras que consegui alcançar no último ano de estudos. O gênero valsa era um dos favoritos da época de Chopin, e essas duas peças de fácil execução alcançaram muita popularidade entre os estudantes, mas, frequentemente, figuram nos recitais de pianistas famosos. 

As peças foram gravadas em Curitiba, entre agosto e novembro de 2022, no piano Yamaha U1J com microfones Shure MV88.

Valsa em Lá menor, B. 150, Op. Póstumo. 

Valsa em Si menor, Op. 69 n.2

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Sonatas Op. 49: Uma porta de entrada a Beethoven, parte 2

Novembro de 2022

Completando a postagem anterior, segue a Sonata n. 20, Op. 49, n.2. A peça começa com um andante escuro já bem beethoveniano, apesar de ser uma das peças da fase inicial do compositor. O segundo movimento, rondó: Allegro, foi o mais trabalhoso entre as duas sonatas Op. 49, com seu caráter vigoroso e uso ostensivo do stacatto. Não me lembro de ter tocado uma peça tão percussiva antes.

Pensando nas duas peças como um conjunto, gosto de ouvi-las na mesma ordem que as estudei, começando pela sonata em Sol maior, seguida da em Sol menor, ou seja da n.2 para a n.1. O encadeamento na seguinte ordem forma uma progressão interessante: Allegro, Tempo di Menueto, Andante, Rondó Allegro.

Por mais simples que sejam, essas duas peças são muito cativantes, e tocá-las com um bom andamento não foi tarefa das mais fáceis. Os ostinatos e staccatos, as escalas e contrastes formam uma boa amostra dos desafios técnicos e estilísticos que surgirão em Beethoven. Atravessei esta pequena porta. Agora, que estou do lado de dentro, vejamos o que me aguarda.  

As gravações foram feitas em Curitiba, entre julho e agosto de 2022, no Yamaha U1J com microfones Shure MV88.

Sonata n.19 em Sol menor, Op. 49. n.1

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Sonatas Op. 49: Uma porta de entrada a Beethoven, parte 1

Novembro de 2022

As duas sonatas para piano, Op. 49 n.1 em Sol menor e Op. 49 n.2 em Sol maior, são consideradas peças leves, Leichte Sonaten. Beethoven as escreveu no começo de sua carreira para amigos e alunos iniciantes no instrumento. Apesar de carecerem da genialidade das obras maduras, as duas peças são uma excelente introdução ao estilo e dificuldades técnicas do mestre alemão. Nelas percebemos, mesmo que de forma singela, a presença inconfundível do caráter enérgico e persistente do compositor.

Uma vez que são sonatas pequenas, cada uma com dois movimentos, propus-me a atacá-las em sequência. Comecei pela n.2 em Sol maior, que conta com um Allegro jovial seguido de um minueto aos moldes clássicos, delicioso e dançante, característico da fase inicial de Beethoven, sob a influência do mestre Joseph Haydn.

Sonata n.20 em Sol Maior, Op. 49. n.2

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4. Prelúdio em Ré maior - BWV 925

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De volta a Bach

Agosto de 2022

Bach é um compositor essencial e favorito que toquei por muitos anos. Desde as Invenções à Duas Vozes e Sinfonias – peças conhecidas dos estudantes –  até alguns prelúdios do Cravo Bem Temperado e a Suíte Francesa em Sol maior. Porém, no novo ciclo, pretendia trilhar um caminho diferente: partiria de Schumann e deixaria Bach para uma segunda etapa. Meu plano era, também, evitar repetir peças de antigamente. Então, pularia as Invenções à Duas Vozes, pois já havia estudado todas as 15 peças do conjunto por anos a fio. Assim, um ano mais tarde, voltei a Bach. Dessa vez, por uma rota alternativa que não começava nem no livro de Anna Magdalena, nem nas Invenções, mas, nos Pequenos Prelúdios – 18 Kleine Präludien. Mais simples que as invenções, porém, mais complexas que o ‘Anna Magdalena’; as peças tinham o tempero na medida para o momento. Foi ótimo reencontrar as polifonias de Bach, peças que, mesmo relativamente simples, exigem dedicação para se chegar a uma boa execução. Gravei os prelúdios entre janeiro e março de 2022. 

O piano é o Yamaha U1J com o microfone mini condensador Shure MV88, usado no Prelúdio n.4; nos demais, o áudio é direto do celular.

1. Prelúdio em  Dó maior - BWV 924

2. Prelúdio em  Dó maior - BWV 939

3. Prelúdio em Dó menor - BWV 999

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Mozart Piano Sonata No. 16 in C major, K. 545 (Facile)

12 de julho de 2022

Para fechar o ano, a pièce de résistance foi a Sonata em Dó de Mozart, k. 545. De todas as sonatas, essa é a mais simples, mas, sem dúvida é uma bela peça. Já a conhecia da juventude, mas nunca havia a tocado por completo. Chegou a hora. A partitura composta por Mozart por volta de 1788 para seus alunos, conta um Allegro muito brilhante, tem trechos mais escuros e profundos no segundo movimento e um termina com um rondó leve e divertido. A sonata facile (apelido da peça), na verdade não foi nada fácil – foi sim, um desafio considerável por se tratar de uma peça em três partes, em oposição às miniaturas às quais me dediquei esse ano. Deu trabalho, mas fiquei feliz com o resultado. E assim terminamos 2021.

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Moszkowski Op.91 N.4

20 de junho, 2022