Absolutely wonderful analysis of this glorious Impromptu! Several years ago (in my 50's) I 'learned' and memorised this piece over a period of about 9 months! - a real labour of love, since it's way above my 'comfort level', apparently. Your incorporated tribute to Schubert has moved me so much and encouraged me to revisit this Impromptu, through new eyes - and fingers! Thank you so much, Clive - if only you were my teacher!
Thanks Michael. Comments like these brighten my day up a treat! It's always good to meet fellow-Schubert enthusiasts. FYI, I have been giving online lessons during the lockdown, and they work okay as long as the connection is good. If you would like to try a session, let me know.
This masterpiece is one of my favorite classic piano creation, when I play or hear it, it gives me an emotional feeling of life power, something divine which we cannot get it, sublime with a combination of harmonic arpeggios and dissonance (chromatic transitions), it feels both sadness and hopefulness like Schubert wanted to convey the soundtrack of his life in one piece...
I was absolutely spellbound by Clive's leisurely appreciation of the wonders of Schubert's creation. FOREVER one of my favorites, though I play it clumsily I still love playing it and melted at your playing of it, Clie Swansbourne. Thank you. (and I've encountered teachers who've found it boring-can you imagine!!!!
Beautiful Clive thank you. And even if it is beyond ones technical ability to play, your tutorial is a wonderful aid to deriving more enjoyment and understanding of the piece for listening. It would have to be my favourite I think. And you play beautifully. Thank you so much. (Tania, Australia).
Not only do you give a fantastic insight into the piece and how to truly get the most out of it, but you also emphasise Schubert’s genius as a composer, how he was composing pieces of depth and maturity beyond his years. He’s probably my favourite composer alongside Wagner and Mozart and I’m glad you shed light on his true musical genius
Oh, thank you so very much for this tutorial. I walked away from my beloved piano at an early age for fear of making mistakes in my first recital and never went back, though the love for it and natural talent remains. Now, in my "senior" years, I have time to study music history a bit and to follow some of the international competitions. I have had to immerse myself in the art of interpretation to better understand what these young competitors bring to these audiences and judges. This lesson, in particular, teaches us so much about that art, about dynamics, and about how to position the hands and use the fingers to bring about the desired effects that I can now watch and listen with a greater awareness than before. Thank you also for the history and for explaining how this still young man faced such grief and expressed that within his composition. You have made my Sunday morning a real blessing!
having played and recorded this piece myself, it was very interesting to listen to you talking about Schubert and writing this gem of music. thank you!
Thank you Clive for speaking so beautifully about Schubert, about the tragedy of his premature death and his heroic urge to compose until the end which he knew was coming : such an unfair fate and incalculable waist of talent. Thank you also for all your remarks and tips on how to play this piece to its best, all very wise and well inspired.
I really love your explanations of how to interpret the music. It really brings the whole music to life. I am working on this piece for my DipABRSM. I never tire of it. It's a piece I fell in love with over 35 years ago.
Thank you so much for your very thoughtful Insights. I feel the same way about this piece. For me, it sits on a special pedestal next to Liszt's Consolation 3 and Chopin's Nocturne in D Flat major. Your interpretation and logic are enormously helpful. You've given me new inspiration to learn this very special piece. Many thanks!
Thank you so much for this. I don't play myself. I seem to remember hearing this when I was very young ,maybe it was a teacher practising in my junior school. Then a huge gap of years before I heard it several years ago. It's so beautiful. For me Horowitz playing it in Vienna was amazing, he hardly moved his fingers.
I love to watch him play this piece. He has enormous hands but he seems to barely move his fingers. He will always be my most favourite classical pianist.
great video, i've been playing piano by myself for less than a year and i'm learning this piece now, even tho I memorized half of it in a month i'm having a lot o trouble with the technical part, i do not have the necessary skill to play it yet but i'm working on it every day your video gave me new ideias on how to look at this piece, hope it will help with the challenge of giving life to it, thanks a lot
I love your interpretation. I’m actually playing this piece for my first diploma, and I find your advice extremely helpful. I can play the melody well but the ornament were very muffled. I understand to keep my fingers very close to the keys for the ornaments. I will go through all your advice, it’s like à piano master class on line. Thanks so much. I don’t think it’s hard to memorise though.
Thank you for the tutorial! One question: will it suffice to use the sustain pedal instead of holding the legato on the top melody note (right hand)? Just asking because stretching my right hand is a bit difficult due to injury.
Beautiful lessons! I’ve listened to several. Some many times. I have been playing Schubert Impromptu 1 Op. 90 for quite awhile now and would love to hear your understanding of this very powerful piece that seems to be the arrival of death, and for me the inaccessibility of the event for everyone except the dying. Would you please teach on this piece? Thank you.
very very glad to have found this swansbourne channel--this video on the schubert gb impromptu a wonderful lecture-demo, so smoothly, conversationally presented--and he didn't disturb the swan disguised as a duck napping in his studio
@@swansbourne ah, i see my mistake--i took the sculpture less literally than i should have: that IS an enormous beak and a fantastically capacious neck, both of which are beautifully engineered to get large meals down and packed away in a hurry, nothing a swan could do, or even want to do
Could you please make the same analysis for Schubert's Impromptu op. 90-2, dear Clive? It's a lovely piece! I think it would be useful and much appreciated by many 🙏🏻🎼
It amazes me that as composers made a living from selling sheet music there must have been many people who could play this music. How many could afford a piano? Excellent analysis
I love the history & background you share. Syphilis was such a scourge. In the pre-antibiotic 20th century, some physicians called tertiary syphilis "general paralysis of the insane". What a charming end of life that evokes. Can you say something in a future video abput your acoustic device atop your piano? It looks like it's focusing & perhaps attenuating certain strings for recording purposes (?). Held down by a copy of Les Miserables. 😊
Thank you for asking, Mr.Geek. And for noticing one of my favorite books serving as part of a barricade! I have the long cardboard box and the book (because the box on its own is not quite long enough) to keep the cats from going into that lovely dark hidden place and settling on the strings.
@@pianoinsights6092 Aha! I laughed out loud when I read your reason...nothing acoustic about it at all, just a cat-owner's problem solving. As far as I can tell, it doesn't remarkably change the sound that gets recorded. Do you mind my asking what you are using microphone-wise and how it's set-up? The sound is quite good given it's not a recording studio, as far as I can tell. :-)
Sure. For the tutorials I use a zoom H4n for sound and closeup video, no external mics. For the performances I use a pair of AkG C414B mics, three feet or so from the open piano lid.
Whoops! I got my models mixed up. I use a zoom Q4 for the tutorial sound and close up video, and the Zoom Hn4 for connecting the external AKG mics for the performances.
Wow amazing class!!!!!! Could please tell us something abou Chopins etude op10-3? I think it has the same important clue, to “highlight” the melodie and keep a pattern of notes on the same hand. It looks easy but for me is being so difficult.....Thank you so much! :)
It is even more difficult in the Chopin piece to get the balance right because each melody note is accompanied by a chord. A good way to practice is to play only the top melody note but just touch the keys of the rest of the chord without depressing them. Then, after this, gradually experiment with playing the notes, but much quieter than the melody notes. Before this though, play the accompanying notes with the left hand and only the melody with the right. This gives you a chance to hear the balance you want, before trying to achieve it with one hand alone.
Hi Charlotte, I follow the well-respected and authoritative Breitkopf edition, but many pianists play the variant you mention from other editions. To me this variant is maybe more seductive, but less effective structurally, as it appears for a brief moment to modulate to E flat minor, and thus takes away a little of the power of the later real modulation into the stormy E flat minor section. But either way is fine!
Thanks. I agree I find it a bit too busy for my taste in the opening section I feel it takes away from the overall serenity. I was just curious as to why / what I was hearing in those recordings. 🤣
Thank you. These are a lot of words coming out of a lot of thoughts. I wonder if this is at all necessary. This is not programmatic music. What about playing this intuitively according to what the moment brings?
In some editions, when the opening phrase is repeated, instead of going from G flat major to e flat minor, there is a B flat major chord in between, leading to the e flat minor. Do you know the history of this deviation of the original?
Beethoven felt his own lack of skill in counterpoint, and embarked on an intensive study of Bach and Handel in his last years. This shows in the last Symphony, the Missa Solemnis, the Diabelli Variations the last piano sonatas and the music for 'The Consecration of the House'. The syncopated passage in Op.111 is almost lifted from The Art of Fugue, second movement.
Have you any comment on some pianists' way to play the bar 5 and the same bar later, like Kissin ruclips.net/video/Ybq6Ea79nZ4/видео.html , Horowitz ruclips.net/video/FxhbAGwEYGQ/видео.html and Lipatti ruclips.net/video/vnGLPxElyd4/видео.html ?
It sounds persuasive to modulate to E flat minor temporarily here, but I think it is incorrect. The Breitkopf edition goes straight from a G flat chord to an E flat minor chord, without the more seductive modulation. I prefer this because the modulation is not necessary so early in the piece, and it steals some of the power of the real structural modulation to the big E flat minor section a little later in the piece, at bar 25. Editions differ (especially in Chopin), and one is often left to make judgments based on one's own preference, and it usually doesn't make any difference to anyone else.
Much of the melody has to be played by the fifth finger, but whenever possible it is easier and feels more natural to use legato fingering to shape the phrases as s sensitively as possible
Piano Insights thank you! The reason why I asked is because I just find legato fingering as marked by Walter Giselking on the Henle edition very awkward; it involves some 4-5 and then 5-4 substitution in the same half note beat. But most professional pianists i find RUclips including you don’t seem to execute that kind of finger gymnastics.
A brilliant analysis, beautifully delivered, with much sympathy for the music. Glad to have discovered your channel - thank you.
Absolutely wonderful analysis of this glorious Impromptu! Several years ago (in my 50's) I 'learned' and memorised this piece over a period of about 9 months! - a real labour of love, since it's way above my 'comfort level', apparently. Your incorporated tribute to Schubert has moved me so much and encouraged me to revisit this Impromptu, through new eyes - and fingers! Thank you so much, Clive - if only you were my teacher!
Thanks Michael. Comments like these brighten my day up a treat! It's always good to meet fellow-Schubert enthusiasts. FYI, I have been giving online lessons during the lockdown, and they work okay as long as the connection is good. If you would like to try a session, let me know.
This masterpiece is one of my favorite classic piano creation, when I play or hear it, it gives me an emotional feeling of life power, something divine which we cannot get it, sublime with a combination of harmonic arpeggios and dissonance (chromatic transitions), it feels both sadness and hopefulness like Schubert wanted to convey the soundtrack of his life in one piece...
Thanks for your wonderful job.
Just signed for your channel.
Odessa, Ukraine
I was absolutely spellbound by Clive's leisurely appreciation of the wonders of Schubert's creation. FOREVER one of my favorites, though I play it clumsily I still love playing it and melted at your playing of it, Clie Swansbourne. Thank you. (and I've encountered teachers who've found it boring-can you imagine!!!!
This was great. Currently learning the piece. Some good insights. 👍
Good luck bro
Im at sec 40 with 3 days of practices, what about you?
Wondrous music-way beyond words. Thank you for the insights. :-)
A really fantastic lesson on this most glorious work.
Beautiful Clive thank you. And even if it is beyond ones technical ability to play, your tutorial is a wonderful aid to deriving more enjoyment and understanding of the piece for listening. It would have to be my favourite I think. And you play beautifully. Thank you so much. (Tania, Australia).
Many thanks, Madeline.
That was fantastic. Thank you for sharing. Loved the explanations and analysis.
Dear Clive. Thank you very much for this. Take care
Geoff
Not only do you give a fantastic insight into the piece and how to truly get the most out of it, but you also emphasise Schubert’s genius as a composer, how he was composing pieces of depth and maturity beyond his years. He’s probably my favourite composer alongside Wagner and Mozart and I’m glad you shed light on his true musical genius
Thank you. We definitely share the same taste in composers!
Thank you very, very much for this! I really enjoyed it.
Thank you. Very helpful, especially your suggestions to stay peddle free in strong bass motifs
toward the end. Lovely balance.
Oh, thank you so very much for this tutorial. I walked away from my beloved piano at an early age for fear of making mistakes in my first recital and never went back, though the love for it and natural talent remains. Now, in my "senior" years, I have time to study music history a bit and to follow some of the international competitions. I have had to immerse myself in the art of interpretation to better understand what these young competitors bring to these audiences and judges. This lesson, in particular, teaches us so much about that art, about dynamics, and about how to position the hands and use the fingers to bring about the desired effects that I can now watch and listen with a greater awareness than before. Thank you also for the history and for explaining how this still young man faced such grief and expressed that within his composition. You have made my Sunday morning a real blessing!
Thanks a lot; your interpretation made me play it much better !
Thank you Clive for a very inspiring and informative tutorial. I really love your interpretation of this piece
Thanks so much, Ron.
Obrigada por nos passar esse conhecimento dessa peça tão maravilhosa !! Brilhante interpretação!!
Thank you very much , I ve always been looking for a in-depth interpretation like what you did .
My pleasure, I'm glad you found me.
Always a pleasure to get some background information:D
This was so helpful and inspiring. Thank you.
Thank you for this wonderful insight on this piece. I'm trying to learn it right now.
SO helpful!! Thank you!
having played and recorded this piece myself, it was very interesting to listen to you talking about Schubert and writing this gem of music. thank you!
"Troubled territory!" I love it. Thank you!
Beautiful and insightful commentary
You are a treasure. Thank you for sharing this with us.
So nice of you, Jim, this means a lot.
Wonderful Just wonderful The composition the analysis The playing The English approach
I very much enjoyed your thoughts on this most beautiful piece.
Thanks. I enjoyed Chirps too!
I am practicing this piece right now . I will apply what I learned from you . Thank you so much for a very wonderful lesson . Great teacher
I wish you progress and a lifetime of satisfaction playing this wonderful piece.
i love the story telling at the beginning
Thank you Clive for speaking so beautifully about Schubert, about the tragedy of his premature death and his heroic urge to compose until the end which he knew was coming : such an unfair fate and incalculable waist of talent. Thank you also for all your remarks and tips on how to play this piece to its best, all very wise and well inspired.
Thank you. I appreciate your comments.
Brilliant video, very very helpful and also interesting to get some insight into the thoughts of Mr Schubert
Many thanks, George!
I really love your explanations of how to interpret the music. It really brings the whole music to life. I am working on this piece for my DipABRSM. I never tire of it. It's a piece I fell in love with over 35 years ago.
Thank you Nicola, and all the best with your diploma.
@@pianoinsights6092 Thank you.
Thank you so much for your very thoughtful Insights. I feel the same way about this piece. For me, it sits on a special pedestal next to Liszt's Consolation 3 and Chopin's Nocturne in D Flat major. Your interpretation and logic are enormously helpful. You've given me new inspiration to learn this very special piece. Many thanks!
Thanks Robert, and best wishes with your project.
My favourite piano piece too!!
Thank you so much for this. I don't play myself. I seem to remember hearing this when I was very young ,maybe it was a teacher practising in my junior school. Then a huge gap of years before I heard it several years ago. It's so beautiful. For me Horowitz playing it in Vienna was amazing, he hardly moved his fingers.
It is my most favourite pice too. I’ll never play it but I love to listen to it. Your video has been great. Thanks
Thank u for ur acceptance🙏🙏🙏
God bless u.
very, very helpful, thank you very much!!
Thanks great phrasing tutorial.
Great interpretation. I agree with everything you said.
Thanks, that means a lot.
very nice as usual
Check out Horowitz's performance of this piece in Moscow back in the late 70's or early 80's I believe....
I love to watch him play this piece. He has enormous hands but he seems to barely move his fingers. He will always be my most favourite classical pianist.
Brings me to tears every time.
yes, yes, yes
Thanks for explaining some background details.
Thank you !
Thank you. This is very helpful.
You're very welcome, Bob!
you are great! thank you very much!
You are most welcome!
great video, i've been playing piano by myself for less than a year and i'm learning this piece now, even tho I memorized half of it in a month i'm having a lot o trouble with the technical part, i do not have the necessary skill to play it yet but i'm working on it every day
your video gave me new ideias on how to look at this piece, hope it will help with the challenge of giving life to it, thanks a lot
It will take 3 yrs for u to learn from now
26.7.2023 to 27.7.2027
Or may be u leave this piece?
What makes u to play Schubert ?
I love your interpretation. I’m actually playing this piece for my first diploma, and I find your advice extremely helpful. I can play the melody well but the ornament were very muffled. I understand to keep my fingers very close to the keys for the ornaments. I will go through all your advice, it’s like à piano master class on line. Thanks so much. I don’t think it’s hard to memorise though.
Thanks for sharing
Thank you.
Thank you! 🌹🌹🌹🌹👍👍👍👍
You are so welcome!
Thank you for the tutorial! One question: will it suffice to use the sustain pedal instead of holding the legato on the top melody note (right hand)? Just asking because stretching my right hand is a bit difficult due to injury.
Beautiful lessons! I’ve listened to several. Some many times. I have been playing Schubert Impromptu 1 Op. 90 for quite awhile now and would love to hear your understanding of this very powerful piece that seems to be the arrival of death, and for me the inaccessibility of the event for everyone except the dying. Would you please teach on this piece? Thank you.
It's on my list. I just have to get to it!
I can't even play piano neither can I read music and I am still loving this!
Grazie, grazie, grazie.
Prego, Federica!
very very glad to have found this swansbourne channel--this video on the schubert gb impromptu a wonderful lecture-demo, so smoothly, conversationally presented--and he didn't disturb the swan disguised as a duck napping in his studio
Thank you. Actually he’s a pelican from Bali. With an impossibly erect swimming posture for his bill weight but a fine bird nonetheless!
@@swansbourne ah, i see my mistake--i took the sculpture less literally than i should have: that IS an enormous beak and a fantastically capacious neck, both of which are beautifully engineered to get large meals down and packed away in a hurry, nothing a swan could do, or even want to do
Could you please make the same analysis for Schubert's Impromptu op. 90-2, dear Clive? It's a lovely piece! I think it would be useful and much appreciated by many 🙏🏻🎼
I will with pleasure, Taliya! Thanks for your request.
It amazes me that as composers made a living from selling sheet music there must have been many people who could play this music. How many could afford a piano? Excellent analysis
Schubert never owned a piano, and only ever had one at his disposal - which is why all the piano duets are for piano, four hands.
I love the history & background you share.
Syphilis was such a scourge. In the pre-antibiotic 20th century, some physicians called tertiary syphilis "general paralysis of the insane". What a charming end of life that evokes.
Can you say something in a future video abput your acoustic device atop your piano? It looks like it's focusing & perhaps attenuating certain strings for recording purposes (?). Held down by a copy of Les Miserables. 😊
Thank you for asking, Mr.Geek. And for noticing one of my favorite books serving as part of a barricade! I have the long cardboard box and the book (because the box on its own is not quite long enough) to keep the cats from going into that lovely dark hidden place and settling on the strings.
@@pianoinsights6092 Aha! I laughed out loud when I read your reason...nothing acoustic about it at all, just a cat-owner's problem solving. As far as I can tell, it doesn't remarkably change the sound that gets recorded. Do you mind my asking what you are using microphone-wise and how it's set-up? The sound is quite good given it's not a recording studio, as far as I can tell. :-)
Sure. For the tutorials I use a zoom H4n for sound and closeup video, no external mics. For the performances I use a pair of AkG C414B mics, three feet or so from the open piano lid.
Whoops! I got my models mixed up. I use a zoom Q4 for the tutorial sound and close up video, and the Zoom Hn4 for connecting the external AKG mics for the performances.
Wow amazing class!!!!!! Could please tell us something abou Chopins etude op10-3? I think it has the same important clue, to “highlight” the melodie and keep a pattern of notes on the same hand. It looks easy but for me is being so difficult.....Thank you so much! :)
It is even more difficult in the Chopin piece to get the balance right because each melody note is accompanied by a chord. A good way to practice is to play only the top melody note but just touch the keys of the rest of the chord without depressing them. Then, after this, gradually experiment with playing the notes, but much quieter than the melody notes.
Before this though, play the accompanying notes with the left hand and only the melody with the right. This gives you a chance to hear the balance you want, before trying to achieve it with one hand alone.
I talk about these methods in my tutorial on Beethoven's Pathetique 2nd mov. Hope it helps!
Very interesting, even for the profane.
You did mention Brendel,who you played more like him.❤❤
Hello. Love this.
Can you (or anyone) please clarify the different chord that Horowitz (and Jussen today) play in the 2nd half of bar 5? And why? 😊
Hi Charlotte, I follow the well-respected and authoritative Breitkopf edition, but many pianists play the variant you mention from other editions. To me this variant is maybe more seductive, but less effective structurally, as it appears for a brief moment to modulate to E flat minor, and thus takes away a little of the power of the later real modulation into the stormy E flat minor section. But either way is fine!
Thanks. I agree I find it a bit too busy for my taste in the opening section I feel it takes away from the overall serenity.
I was just curious as to why / what I was hearing in those recordings. 🤣
Thank you. These are a lot of words coming out of a lot of thoughts. I wonder if this is at all necessary. This is not programmatic music. What about playing this intuitively according to what the moment brings?
I suppose one man's revelation will ever be another's blah blah blah!
In some editions, when the opening phrase is repeated, instead of going from G flat major to e flat minor, there is a B flat major chord in between, leading to the e flat minor. Do you know the history of this deviation of the original?
Beethoven felt his own lack of skill in counterpoint, and embarked on an intensive study of Bach and Handel in his last years. This shows in the last Symphony, the Missa Solemnis, the Diabelli Variations the last piano sonatas and the music for 'The Consecration of the House'. The syncopated passage in Op.111 is almost lifted from The Art of Fugue, second movement.
Have you any comment on some pianists' way to play the bar 5 and the same bar later, like Kissin ruclips.net/video/Ybq6Ea79nZ4/видео.html , Horowitz ruclips.net/video/FxhbAGwEYGQ/видео.html and Lipatti ruclips.net/video/vnGLPxElyd4/видео.html ?
It sounds persuasive to modulate to E flat minor temporarily here, but I think it is incorrect. The Breitkopf edition goes straight from a G flat chord to an E flat minor chord, without the more seductive modulation. I prefer this because the modulation is not necessary so early in the piece, and it steals some of the power of the real structural modulation to the big E flat minor section a little later in the piece, at bar 25. Editions differ (especially in Chopin), and one is often left to make judgments based on one's own preference, and it usually doesn't make any difference to anyone else.
These performances are all exquisite and thoroughly enjoyable and not spoiled one bit for me by their use of the early modulation!
See: Yves Knockaert: Schubert. Polis, 335 blz., (in Dutch...)
Is legato fingering necessary for this piece?
Much of the melody has to be played by the fifth finger, but whenever possible it is easier and feels more natural to use legato fingering to shape the phrases as s sensitively as possible
Piano Insights thank you! The reason why I asked is because I just find legato fingering as marked by Walter Giselking on the Henle edition very awkward; it involves some 4-5 and then 5-4 substitution in the same half note beat. But most professional pianists i find RUclips including you don’t seem to execute that kind of finger gymnastics.
Dvořák lets go! 😂
Schubert a true musician the fifth greatest one after Bach Mozart Beethoven and Chopin
He's still not fully appreciated. There are some people who still think his sonatas are too long. Nuts!
@@pianoinsights6092 Not to forget he died at age 31 and I dare the entire world including Beethoven and Mozart at same age if they did better than him
The most dificulty is make the acompanishment sounds clearly in the back of melody and play the melody smothly :(
Yes, I agree.