András Schiff Analysis of No. 4 Moderato

Music Lesson

Introduction

And the next one, please. It's the same movement, but it's a different expression. This is not cozy; this is very tragic.

Expression and Emotion

• Please, you played it also because if you think of Bach, you know. But it's something else.
• This is mysterious. It shouldn't be so clear because you have harmonies.
• When you play it like this, you hear the "La Cremosa" of Mozart's Requiem.

Playing Techniques

• Again, the Neapolitan sixth. Please, it's too many fingers.
• Play me a choral.
  • Yeah, very good.
• Now play it as it's written.

Replaying the Piece

• Okay, now I play again.
• The left hand again: this is too staccato; make this one a little longer.
• Very much better.

Character of the Piece

Now, just think of it:

• The tone fall, the character of the piece, and what we had.
• The first one, you see sunlight, sunshine. This is very dark, not just because it's in minor.
• And then it gets desperate. This is the most tragic piece of the Moma Musical.

Tempo and Rhythm

Okay, let's go from when this was jumping.

• Do more of that duck till "yum yum" phrase.
• Tempo, tempo, tempo. Very strict, but I would not slow down because you spoiled the surprise.
• Yum pom pimp. Again, the silence. Silence is the most beautiful thing in music.

Establishing a Rhythm

• But why a new tempo? I think the same tempo.
• Now get this: the movement of the trio section, the middle part, has a little accent on the syncopation.
• It's misleading because the listener hears: 1, 2, 3, 4; 1, 2, 3, 4; 1.
• But Schubert says 1, 2, 3 for 1, 2, 3; for 1, 4.
• We must establish this rhythmic pattern. After we can talk about details.

Playing Details

• A little more accent on the syncope: 1, 2, 3, 4; 1, 2, 3, four; 1, 2, 3, four.
• Okay, and now play legato.

Imagining the Scene

What's legato?

• Now try to think that the C sharp minor section is less Schoenam?llerin and more winterize.
• We are out in the cold, but we would like to be in a warm room.

Transition in Playing

• And this is the warm room.
• In your dream, you sit too long on the middle note. That's very good.
• There is a little bump that I don't need, you know, because it has to have a wonderful lilt swing.

Left Hand Technique

This is also your left hand is too heavy there. Be careful.

• So long. Too long.

Continuing with the Piece

Let's go on now. Very good.

• Now this is a question mark and answer.
• Don't do that; it's not a clever finger.
• Can you reach that? Yes, of course. Very good.

Theme of Wandering

It's one of those songs of wandering, you know.

• He's an unhappy wanderer.
• After coming back from the warm room, which was only in his dream, we are back on the road in ice.
• Sing. No, silence. This is so poetic.

Concluding Thoughts

And again, he thinks of the warmth, but only for two bars. Then it's interrupted, and then there is this epilogue.

• But there is no hope.

Play this again.

• But yes, it's beautiful.
• This is again: you have such a drama, so much happening in so little time.
• You have to put all the emotions and all the feelings within that time frame.

But it was very good.

Thank You

Now, thank you very much.