Stanislav Ioudenitch: Prokofiev – Piano sonata no. 8 op 84 – I. Andante dolce – Allegro moderato

PROKOFIEV, Sergey

Piano Sonata No. 8 in B-flat major, Op. 84

I. Andante dolce – Allegro moderato

Stanislav Ioudenitch, guest professor

Mateusz Marek Mikolajczak, student

The professor explains, after the student plays the complete movement of the Sonata, that the first part, Andante dolce, is very reflective, and the most important thing about the lyrical elements is not to make them as free as one would in the style of Chopin. The use of rubato should be more restricted. The level of dynamics must be clear, from pp to ff with full sonority, as it is one of the formal elements of the movement. The student can imagine the phrasing that a clarinet would make, without accelerating any of the notes. One must seek a warmer color, without directly attacking the key. Ioudenitch demonstrates ways to achieve certain dark timbres with the left hand. The mf in Russian music is much more intense than in Brahms. In polyphonic passages, one must listen to different instruments, each voice with its timbre. It is very concentrated music, each note with its tension and presence. One must never lose sight of the tempo primo; it must be maintained. In this first part, the professor insists on the timbres and the quality of sound, as well as the correct use of dynamics.
The Allegro moderato has to be more sostenuto, it is not a question of tempo, and not exceed the dynamic mf in general terms. The articulation of the fingers of the right hand has to be flatter in a certain passage. They change the fingering of some passage. The difference between the percussive notes (with accents), which are harder, and the more lyrical ones has to be noticeable. The climax is designed for the brass instruments; one should not think in terms of piano alone.

Language: English