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Encounter of Santander
Faschingsschwank aus Wien for piano solo op. 26
Vitaly Margulis, professor
Jorge Blasco Royo, student
Margulis comments that this work is a compendium of different characters. He explains how to phrase the beginning. Schumann was a very precise composer, so the student must follow the score exactly. There should be a contrast between the main motive and the others. They work on the sound to achieve an intimate character (it is a good exercise to sing it with the voice to give the right character to the phrase). If we want to sing a phrase, we should think more in the finger contact with the yolk, and not only with the tip. In certain rhythmic chord passages, it would be good to have the support on the belly because it helps us with the impulse (thinking about a cello bowings). The slur endings must be very precise. In addition, it is necessary to make a different sound in each voice. Margulis insists on the idea of creating contrast throughout the piece, color variety in each new section. He says that being aware of harmony also helps to distinguish voices and work on sound, so we must listen carefully.
Language: Russian-Spanish (simultaneous translation)