BRAHMS, Johannes
Variations on a Theme by Paganini for solo piano in A minor, Op. 35 35
Book I
Robert Levin, guest professor
Kirill Zheleznov, student
After the student’s complete performance of the first book, Professor Levin offers a general comment regarding his hands while playing: keeping the position of his elbow and wrist fixed is detrimental. He then corrects the accentuation and phrasing for specific variations. Levin also suggests slightly rotating the hand position to assist with the first variation, and considering the strength of each finger to achieve a good balance. They then review the work from the beginning:
Regarding the Theme, he suggests loosening the arpeggios more by using more wrist rotation to facilitate the hand position.
For Variation I, they review finger position and pressure to achieve more comfortable playing and improve the interpretation.
In Var. II, there are passages that are not particularly difficult, but the brain sends signals that they are, leading to playing with more tension. One must think the opposite and find the hand connections and finger positions that facilitate these passages. It is also important to practice the leaps extensively. He reiterates that by moving the wrist and elbows, the body relaxes, which helps when playing; it is not good to keep the wrist frozen in one position for a long time. One should not suffer to play well.
It starts well, but as Variation III progresses, the pulse changes again. He recommends practicing it slowly to improve this.
Regarding Var. IV, Professor Levin makes a few brief comments on finger and hand positions.
Upon reaching Variation V, the professor mentions that there is evidence that opposing hairpins indicated playing rubato. He provides examples and, following a question from the student, they also discuss Schumann’s Fantasie.
In Var. VI, the professor suggests emphasizing the middle notes of each measure more, but without it being too obvious. Without cutting, shaping the form by playing slightly with the tempo.
When playing Variation VII, he should not rush the ascending octaves so much, as that complicates things. The brain is what is telling him to do that, and he must think in blocks of where he needs to go each time, letting himself flow more and moving his wrists toward their most natural position.
For Variation VIII, he mentions the most correct phrasing, pointing out which eighth-note chords are connected and which are separated, as indicated by the notation in the score.
In Var. IX, the left hand needs improvement, and he also gives some advice regarding the pedal and the use of the thumb.
Regarding Var. X, a clear distinction must be made between the staccato and the portato in the left hand. They also review the syncopated rhythm, and Levin points out that some rubato can be used, but without it sounding nervous or mechanical.
In Variation XI, the left hand is dominant, and the right hand should float more over the left, but without it being obvious to the listener. They also discuss repetitions, the sound balance between voices, and different colors.
Language: English
