Category Archives: Schumann

When Upbeats have a new meaning and importance

For most piano students, an upbeat is considered a lighter springboard to a more predominant DOWN-beat, as if the UP in music should always be taken LIGHTLY. (except in Jazz framings where syncopations are characteristic of the genre.) *** We … Continue reading

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Schumann’s “Almost Too Serious” (Kinderszenen No. 10) requires get serious, step-wise practicing

When I first looked at a “seriously” complex page of dizzying tied-over (syncopated) notes in Schumann’s “Almost Too Serious,” (Fast Zu Ernst) I had a knee-jerk avoidance response–that is until I tapped into a permeating melodic thread that I isolated … Continue reading

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What’s Frightening about Schumann’s “Frightening? ” (Kinderszenen, Op. 15, no. 11)

What convinces most pianists that Schumann’s “Furchtenmachen” (Frightening) is an expression of fear or perhaps more specifically anxiety, are the markedly impulsive sections that contrast with lyrical, reflective ones. And not to be overlooked, are the interjections of syncopated SF’s … Continue reading

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Schumann’s ‘Rocking Horse’ comes with a spring forward wrist

Schumann’s Kinderszenen album, (Scenes of Childhood) includes a child-inspired Rocking Horse piece that enlists spring forward wrist motions to help frame its character. If the pianist tightens up and tries to realize third beat accents with a tight jolt of … Continue reading

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Intermediate Level Piano Repertoire: Album for the Young by Robert Schumann

I took a musical journey down memory lane yesterday, rekindling scenes of childhood as I read through a set of “old” Romantic era compositions. These weren’t Robert Schumann’s illustrious KINDERSZENEN, but colorful character pieces wrapped into the composer’s Album for … Continue reading

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Piano Instruction, Don’t wake the “Sleeping Child,” Schumann Kinderszenen, Op. 15 No. 12

Often contemplative, lyrical pieces like lullabies, are bigger challenges to play than lightning bolt fast and furious etudes, final sonata movements etc. “Sleeping Child” is its own poster child for fostering relaxed breaths, flowing musical poetry, and bigger energies beyond … Continue reading

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Piano Technique: Exploring contrasting emotions when practicing a piece (as Daniil Trifonov, pianist, recommended in his videotaped interview)

I put into “practice” one of Trifonov’s recommendations, as I mentored a second year piano student this evening. We started the lesson by playing “happy” and then “angry” consecutive staccato thirds. (“Hopping” from Dozen a Day) Eventually after completing our … Continue reading

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