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Thoughts and Updates on Repertoire | ||||||||||||||||||||
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Wednesday, February 25, 2026: The main melodic line of Schubert's Impromptu No. 2 is like a long, flowing run-on sentence. Except in musical form, and unlike run-ons which might not say anything but gibberish, this does like a free-flowing poem or song. There isn't a break until the thunderous, energetic second section, which is a change of mood and atmosphere. The melody is very angelic and tender - especially one particular phrase or passage, which is played softer and can be highlighted if so inclined. One of my absolute favorites to play, emote and think about - similar to Mozart's K. 533 second movement melody. I often play this section randomly. Come to think of it, I might record No. 1 - a purely energetic piece, like a March on steroids. Schubert does not have a vast piano repertoire nor musical repertoire. Still - I'm sure there are pieces that are notable and melodic. His repertoire isn't really exposed that much.
Sunday, February 22, 2026: | While Liszt is the focus for now, I do want to go back to Schubert. Essentially, re-recording the Impromptu No. 2 (a favorite while removing the rest, only interested in just 1 Impromptu and looking for other repertoire). The next piece for Schubert might be "Ave Maria", the original vocal / piano score. Transcriptions are spectacular, but would take awhile due to some complexity. And this might not be "The Year Of The Wanderer" since other pieces to work on just keeping coming up. The plan is to eventually record and upload just a few Schubert, including the Wanderer. Aside from the Liszt 3 concert etudes (the remaining two), re-recording the "Danse Macabre" is a possibility. I have an affinity for it since I'm into that type of Halloween-ish atmosphere. That would essentially round up my Liszt repertoire. Eventually. I'll have to find time to even have a second look at the piece, since practices are not frequent.
Saturday, February 07, 2026: | I'm currently working on Liszt's second Concert Etude or No. 2. It's quite the doozy, an exercise on difficult Chromatics and passages. It makes "The Flight of the Bumblebee" seem like child's play literally. It's going to take time, having to smooth out a lot of the phrasing or passages with one hand first. The intensity is upped a notch - despite all the accidentals, chromatics and chords, the melodic line flows well and smoothly. Practicing or playing a lot of intense pieces can be taxing. It behooves me to go back to lighter pieces, as in J.S. Bach's Variations which I have yet to finish. Oh it's on.
Saturday, January 24, 2026: | I'm deciding to re-record the Liszt Concert Etude No. 1 (and possibly "un sospiro" if there is time), which is one of my favorites. It needs more dynamics or oomph, and less hesitation or subdued playing (at that time, kids were around so I couldn't go all out). I don't have any Liszt at all, because Liszt pieces tend to be large in both difficulty and length. It takes awhile to learn any piece. However, Liszt seems to be one of the benchmarks for any concert pianist however. And the composer is certainly is major part of their repertoire. In a concert or a performance, a performer or a musican cannot afford to think twice or hesitate. They have to be bold in playing how they want to play it (and even be bold in playing through errors or mistakes) - confidence usually comes when you know the music well or completely familiarize with the melody. Then, you can tell your own story. You have these epic pieces that unfold like that, so I just want to go with the flow of the music. Expressing it the way I want to express it. Within the context of the music of course.
Thursday, January 15, 2026: | It might have been the first time hearing the melody for the second movement "Appassionata". So it isn't a brief movement, just a calm, gentle movement with repeats that eventually segues into the intense, emotional third (a favorite). If I combine the second and third, the video might come out very long due to repeats so might just separate them. Beethoven's third movement Appassionata is certainly passionate, and you have to have certain emotional maturity or stability to play it right. Otherwise, it can get messy or incoherent. Just as with a lot of Beethoven. This composer is an example where you want every note to be heard (only select ones accentuated or played with more oomph). Beethoven's "Les Adieux" and No. 15 Sonatas are my favorites. And now including the "Appassionata", which I'm currently working on. I'll have to re-organize certain web pages to reflect them. There are certain pieces that'll always be fun to play, because it's like a roller coaster journey. It's not a melody just for the sake of a melody. You hear or watch it, and then completely forget about it - as with most of modern music or movies. Of course, J.S. Bach's Variations (which I might include a separate link). And some Mozart pieces. That's what makes the Big 3, the big 3. Influential music that might have the lasting power, they are indeed rare. I'm just including them in my repertoire.
Saturday, December 27, 2025: | Roll call - most influential, or most emotive classical pieces I've played so far: Mendelssohn, Rondo capriccioso: fantasy story-telling like a play unfolding. W.A. Mozart, Piano Sonata K. 533: One of the longer Sonatas or pieces. All three movements have completely different atmosphere with long, flowing melodies but are inter-connected well. L.v. Beethoven, "Les adieux" Piano Sonata No. 26: a characteristic piece that represents sort of a "journey" or "self-reflection" as well. Highly emotive - last movement "Le retourn" or for me, the rebirth is like the end of the journey. Liszt, Concert Etude No. 1 "il lamento": this piece is most effective playing it emotionally and with more rubato. But it can be too emotional. J.S. Bach, the Goldberg Variations: going through life's journey or trials and tribulations in life. Speaking of which - Var. 5 and 20 are the final selects. Var. 20 to me, is the "turmoil". Var. 5 is more festive and bright, along the lines of a Mozart. J. Brahms, Capriccio Op. 116 No. 3: what a melody, the second section. F. Schubert, "Wanderer" Fantasy: possibly the most difficult C-major piece there is (a work in progress). Impromptu No. 2 (can't get enough of some melodic lines). I wouldn't hesitate to upload these in a public platform, but there isn't any worthwhile in existence. I found a nice arrangement for "Reflections" of Mulan. If you are unable to arrange a piece by yourself, there are a lot of nice ones out there. I try to look for in-between: not too complicated that could muddle the melody, but just enough to give it some flavor.
Thursday, November 20, 2025: | Chopin's Grand Valse Op. 42 has a bit of a fantasy-theme to it, in Waltz or dance form. Perhaps Mendelssohn's Rondo cappricioso was slightly influenced by this and other melodies. That Chopin's Waltz might not be ready until next year - I'm just focusing on Brahms and the Concerto No. 20 solo rendition second movement. Schubert's Wanderer Fantasy and J.S. Bach's Goldberg Variations are two pieces for me, that are thematic in terms of representing or a metaphor for going through / navigating life's struggles, conflicts and good times all by myself or lonesome. Just the sense of emotional alone-ness, just being an outcast or always being on the outside looking in growing up. Essentially, a Loner's journey. Music is way of reflecting and introspecting, since words themselves mean shit. And I certainly don't know how to talk well (if at all). Such is the life of an awkward anti-social.
Tuesday, November 11, 2025: | Ya know that drama I never saw, "Do You Like Brahms"? I guess I'm beginning to haha. I think a composer like Brahms is an "acquired taste", because he doesn't have any recognizable melodies or the melodies are more on the dissonant side. Which makes it all the more imperative to get the notes right, or accurately as possible. While practicing the Capricio Op. 116 No. 3, I feel like it encompasses life's unstable turmoil and the tender, gentle moments in a grandiose way. Can't wait for this. Mendelssohn's Rondo capricioso. It's not enough to just play it how it is. For me, it's a fantasy-type piece that tells a story, like a play. So it requires a bit more expression, and of course - polishing or re-fining the notes and chords. It's a bit tricky with the pacing, tempo and the intricate passages. But it is a therapeutic, and absolutely one of my "absolute" favorites. So there's two so far, this and K. 533 Sonata.
Wednesday, October 01, 2025: | So I'm chipping away at the Rach Prelude in G minor op. 23 no. 5. It is a piece requiring a lot of conditioning, focus and energy. If you're not used to playing chords fast. Performers have to have these things - proper conditioning (not get tired right away), and a lot of energy / focus. What helps - is being inspired, motivated and actually interested. Slowly but surely, I'm getting used to the pacing and chords. So it might be ready sooner than later. I've also been enjoying Chopin's Grand Valse Op. 42.
Saturday, September 06, 2025: | Roll call for new recordings / videos: Rachmaninoff, Prelude in G Minor Op. 23 No. 5 Chopin, Grand Valse Op. 42 and "Minute" Waltz Other - to be determined The Prelude in G minor - I'm looking forward to this one. It might take awhile but progressing. It's chord-heavy, but the steady, catchy beats or rhythm is matches the intensity of the chords well. The flow has to be steady and even. If you can't keep up with the pace or if you play this choppy or uneven, don't tackle it. Yet. Which I is why I put if off as my hands needed more conditioning. It flows into a more calm, melancholic atmosphere or melody - a welcome reprieve from the intensity. My essential or favorites of the Goldber variations are complete - they are in the key of G, so coincidentally - the variations mainly begin on a G and end on a - wait for it - G. Haha.
Saturday, August 23, 2025: | The first variation is not as straight-forward as most first pieces in a series are. Var. 1 is a bit more tricky than some cross-over pieces in fact, it's only true if you don't have a large reach or hands (due to the tight phrasing and large distances in the pacing). For me, it's taking more practicing to get this down. But it has to be included, since it is the first piece and represents a journey's beginning of life or a new adventure or outlook in life. Only to have life either wear and tear you down, as well as bring a wealth or plethora of excitement, joy and happiness. For me, Var. 26 is the climax despite it being near the end. I think it encompasses all kinds of emotions, especially when it climaxes at the end - a turbulant, intense melody sort of. Ending on a G of all notes haha.
Thursday, August 14, 2025: | I think the "Appassionata" piano Sonata is Beethoven's most passionate or energetic Sonata arguably of course. I'm a sucka however, for the characteristic Sonata "Les adieux" to fit that bill or one of my favorites (or could be the favorite). The third movement Appassionata is something that is on my radar to learn, practice and possible - record. I began playing it again today - fortunately, not much rust. It's a stretch however. Long-term projects such as this, and Schubert's Wanderer is going to take time. Something that is becoming less of. There is usually something that brings me back to a composer after taking a break for awhile. Whether it's a famous pianist's throwback or anniversary of their album release, or a new movie about the composer (Beethoven in this case).
Monday, July 28, 2025: | I'm a sucka for tender, warm melodies. With that said, planning to re-doing Var. 11, 15, 21 and 25. Very brooding, soft and enigmatic. "Should you learn or play a piece that is popular? Only if it inspires you. Otherwise - find your own." - Me.
Thursday, July 24, 2025: | After what I call the "J.S. Bach Trifecta or favorites" (Prelude & Fugue No. 7 - done, Sinfonia No. 14 redo and Var. 13 redo + more - new web page), I'm aiming for Chopin's "Minute" Waltz (for memory) and Grand Valse Op. 42 (which I'm enjoying immensely learning and playing). Sometimes, going back to the fundamentals of good fingering, phrasing, emoting and just multi-voice melodies. You can always gain a new perspective for other pieces that come in the classical / romantic eras. Dare I say J.S. Bach is the standard for what comes in later periods or eras. So, roll call again: J.S. Bach redos Chopin Waltzes (minute and op.42) Schubert Wanderer Fantasy W.A. Mozart, Piano Concerto No. 20 Romanze creation / solo rendition
Friday, July 18, 2025: | So I decided to re-do with a brand, new recordings of J.S. Bach's tender beauties: Prelude & Fugue BWV 876, Var. 13 from the Goldbergs, and Sinfonia No. 14. While you can get away with your own fingering in a lot of pieces, J.S. Bach is particularly difficult because there is not much wiggle room for that. Good fingering is required to navigate tricky passages in both hands. Melodies or voices can flow either hand, one or the other, and sometimes - simultaneously. While the composer is not known for big, fat chords (it's the Baroque after all), the passages are quite intricate. A precursor for future compositions in eras to follow. Oh it's on, it's damn on.
Friday, July 11, 2025: | I haven't practiced or played J.S. Bach in awhile. Depending on the piece, I would have to re-learn them if I get too rusty. I don't plan on learning anything new, probably re-do an existing Prelude & Fugue for a less blurry video. The "Goldberg Variations" is pure beauty, as well as highly structured / logical. I think most of Bach's pieces are pure beauty - there isn't that much (if at all) emotions involved in them. Just pure inspiration and euphoria / ecstasy. The melodies flow like a metaphorical journey through life in contemplation and thought, tragedy and ecstasy. Whatever emotions there is, you certainly do not play these pieces as you would to a Beethoven piece. These pieces are more intricate than just mere "learning the notes". I think Lang Lang's 20+ years of studying these pieces can testify to that. At performance-level, you have to study them more (with deeper considerations) to elevate the performance itself. As a hobby, they are nice to play them now and then. With repeats, the run time is quite long (for all 30 vars).
Monday, June 23, 2025: | New Repertoire / recording roll call (brain-storming for the rest of the year and beyond): Mendelssohn, Album Leaf "Songs without words" Chopin, "Minute" Waltz (from memory) Chopin, Grand Valse Op. 42 (because this epitomizes a really catchy, unique waltz) To Zanarkand, Final Fantasy VII theme (if I can find the sheet music) Schubert, Wanderer Fantasy (first two movements at least - epitomizies my metaphorical journey through life) W.A. Mozart, Piano Concerto No. 20 excerpt / piano solo rendition (the ultimate, and final Mozart creation to record)
Friday, June 13, 2025: | Chopin's Grand Valse Op. 42 is progressing as quickly as "Flight of the Bumblebee" did. I don't have time to completely memorize this, nor any other piece. Unless it's a quickie. Sometimes, you can memorize a piece or something unintentionally. It's called, "visualizing" and "emoting". For a complete memorization, a pianist would have to study the notes a bit. As usual. I haven't practiced this in awhile, but I'm usually not rusty. As long as a piece is inspiring enough to savor it. I'm quirky in the sense the opposite effect applies - "I practice or play better if I don't practice or play too much or often" haha. But this shouldn't be relied on. I prefer to play or practice often, simply because I enjoy it now. K. 540 cometh first however.
Thursday, June 12, 2025: | K. 540 piece would make a nice follow-up to the frenetic "Flight of the Bumblebee". It's a solo piano piece not in Sonata form, but more like a second movement Adagio (gentle, slow). With repeats, it's the polar opposite of a fast piece like either Flight or even Chopin's Minute Waltz. It'll clock in quite long. Adagios are sometimes more difficult to express than fast ones. Which means, you have to pay that more attention to specific dynamic markings or even put some emphasis on expression. There are a lot areas or sections that are ripe for expressive interpretation in this one.
Sunday, June 08, 2025: | Mendelssohn - what makes the "Songs without words" stand out to me? 1. They aren't played or heard much. *Checking the check box. 2. They are still melodic - I'll put some emotion into it to add flavor / inspiration if anything (while the composer might have just shrugged off these pieces as just regular pieces). *checking the check box. "The Flight of the Bumblebee" is a piece I thought I'd never finish. If I can do it, so can anyone. My approach - you want to familiarize or know the melody first before the notes. Having the imagery of a bee buzzing around helps. It's a type of piece that places more importance on the pacing and fluidity in my opinion, as long as you've gotten the handle of the important lines / phrases, notes or chords. The bass line of chords helped with the pacing. Afterall - a bumblebee's flightpath is not linear. It can often be unpredictable and chaotic, buzzing around frenetically. The composer only writes the notes. I'll "sock it back to ya" haha. It's a done deal. I'll still probably play this on and off, it makes for a fine exercise or an etude (chromatics in the style of a bee's flightpath up the wazoo) to get the fingers fired or warmed up.
Tuesday, June 03, 2025: | Some vague ideas for the solo excerpt from Piano Concerto No. 20's second movement. Essentially - just play the piano parts, and hum / air conduct the orchestral parts (making for a quirky video without any real orchestra but just my terribad voice). I just pass muster in terms of tone deafness, and since the orchestral parts are in my head anyway (most of them if not all) - might as well hum the melodic line of any instrument. Or just play the piano parts straight through, with just brief pauses. Regardless, quirkiness is the new norm. Everyone has listened to, watched or heard concert after concert, over and over, since the beginning of time. So why not do something quirky, different, or new. This Concerto stands out. Along with 21, 23. They might be all exceptional. |