SCHUMANN, Robert
Faschingsschwank aus Wien (Carnival of Vienna) for solo piano, op. 26
I. Allegro
Vitaly Margulis, professor
Jorge Blasco Royo, student
Margulis comments that this work is a compendium of different characters. He explains how to phrase the entrance. Schumann was a very precise composer, so the score must be followed exactly. There must be a contrast between the main motif 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 know what character to give to the phrase). To sing a phrase, you have to think more about the contact with the fingertip and not just with the tip. In certain passages of rhythmic chords, it is good to lean on the belly because it helps us with the impulse (think of the bows that a cello would make). The ends of slurs have to be very precise. In addition, the difference in voices must be clearly distinguished. Margulis insists on the idea of creating contrast throughout the piece, timbral variety in each new section. He says that keeping the harmony in mind also helps to distinguish voices and to work on sound; you always have to listen carefully.
Language: Russian-Spanish (simultaneous translation)
