Peter Frankl: Schumann – 12 Etudes Symphoniques Op 13

SCHUMANN, Robert

12 Symphonic Studies for Solo Piano, Op. 13

Peter Frankl, visiting professor

Ivo Kahanek, student

Professor Frankl greatly appreciated the student’s overall conception of the work in his performance. He did not play the Posthumous Studies to maintain unity, but he lost this sense of unity somewhat by pausing too much between variations and making too many ritenutos. Professor Frankl then made comments regarding each specific Study:
* Thema. Andante and Etude 1. Variation I: The professor comments on the tempo of the theme and the 1st variation. The theme ends as a question, and the answer is in the first variation. The end of the theme has a fermata, but also attacca to Variation I
* Etude 2. Variation II: Here, Frankl points out that the character should be more “Florestan”, more passionate. They also comment on the good use of the thumbs in this part, which the professor sees as very appropriate.
* Etude 3: He recommends playing lighter, as well as using a different fingering and not pausing too much at the double bar.
* Etude 4. Variation III and Etude 5. Variation IV: The professor indicates an error in the reading of the score in the 3rd variation, and makes other comments on the chords and dynamics. The sforzato should continue until the first note of the 4th variation, and he should not pause so much at the end of this one either.
* Etude 6. Variation V, Etude 7. Variation VI and Etude 8. Variation VII: The anacrusis is very well executed with the right hand, and the contrast with the following variation, which is the first in E major, is important.
* Etude 9 and Etude 10. Variation VIII: Dynamic indications on how to reach the fortissimo in a certain passage of Study 9, and at the end, continue without stopping to the next variation.
* Etude 11. Variation IX: Possible fingering with finger 5. Indications in a passage to play the rhythm well, using the left or right hand. The pulse is important here so as not to lose the meter of the movement.
* Etude 12. Finale: Allegro brillante: Make the repetitions. Left hand and imitation well highlighted. More contrast when arriving at G flat major. Correction in the reading of an erroneous note. Regarding expressiveness, the point where the real surprise is, is after where the student interprets it. Indication for the last chord (play F with the left hand).
Final conclusions: the student must achieve unity throughout the work by trying not to pause too much between variations. Considerations and advice on the study and interpretation of the 5 posthumous variations.

Language: English