I just finished practicing the Sonata today, and I thought I'd give you a list of the things I'm noting as I practice.
First Movement:
1. still getting confused in memory on the difference between measures 26-28 and measures 49-50, so I tried another approach - I wrote out an exact scheme of the two places and how they differ. Here it is:
a = 26-28 and a1 = 49-50
a RH E D# C# ] B# rhythm: half-note, quarter, quarter
LH C# F# Fx ] G#
a1 RH E ] Dnat B# ] C# rhythm: half-note, half-note, half-note
LH C#] F# G# ] C#
Please note that I couldn't do bar lines, so just used the right end of a bracket to indicate this. Also, in both cases the movement from C# to F# in the bass is down. I have all this sketched out on a post-it note, so I'll just stick on the music-stand on the piano, and also take it to bed with me, and read it just before sleeping, and first thing getting up. This should clear up this spot once and for all. I'll let you know in a day or two.
2. measures 32-39 order of beginning notes in ascending arpeggio figure in RH:
D#, then a measure later up a half step to E, then one measure later up next octave to C# (middle C#), then one meausre later to F#, then we begin our descent down.
3. Measure 56 = Three beats of same chord B7, in inner voice - melody and bass don't move till fourth beat . This is the only measure to change harmony on the fourth beat, after repeating the harmony on each beat for three beats. Measure 26 is similar, but there the harmony lasts the entire measure. This is probably why measure 56 has always felt a little insecure.
Second Movement:
1. Noted that the third of the chord is in both outer voices on alternate iterations of the phrase i.e. ms.2 (upbeat to 3) then measure 6/7 then ms. 10/11 then 15/16. In between the melodic motive has the root of the chord in the soprano, and the third of the chord in the bass, rather than doubling the third as in the above measures. Again, a tiny detail that can trip the memory in the stress of a performance.
2. ms. 25/26 unsyncopated (like opening two measures) 26-28 syncopated unlike its equivalent at the opening.
3. The trio has accents and should be stronger than the first section. This also allows contrast with the 'pp' after the double bar.
Third Movement:
1. There are 5 sets of upward-sweeping arpeggio figures such as the one that opens the sonata. There are 6 if you count the repeat of the exposition. here are brief observations that I'm using to help keep them straight in my mind.
Assuming 6 in all:
1: c-sharp minor triad in second inversion, arpeggiated upward, bass moves down by step eventually to G-sharp, changing once per measure in this patters: C-sharp, B-sharp, B natural, A natural, G-sharp.
2: starts out like 1, but ends on the pitch 'e' in octaves, and proceeds to modulate to g-sharp minor. Note bass movment to a-sharp, f-double sharp, to g-sharp
3=1: return to beginning via first ending
4: starts out on c-sharp not g-sharp. So the arpeggio begins not in second inversion, but in root position, and is played twice, with downward movement in bass, eventually travelling from g-sharp to a to e-sharp, landing on f-sharp as the inital key of the development
5=1: return of main theme after development
6: in f-sharp minor, like a transposition of 1 but after two upward sweeps changes into faster arpeggios.
2. the fast figuration in measure 33-40 and 129-135 - I should only play piano as indicated. Tendency to overplay because of speed and difficulty. Also, I need to know exactly where the beats lie in the figure this is crucial to developing speed and accuracy, as in going fast, a false accent throws off the whole impulse/energy pattern, resulting in tension, and an unclear sound.
3. ms. 43 and similar places - need to work on dynamics more, not completely thought out.
4. 178 and following - the series of 'forte' descending passages. Here as in the note no. 2 above, I need to know clearly where the beats are falling, and also not overplay. With the pedal down, a clear mezzo forte after a forte beginning will result in an acoustically louder sound, than in trying to play all the notes forte. Here the energy has to be evenly distributed or the passage will cramp by measure 183.
So there's some notes from today's work. Along side this, I've arranged three run-throughs of the entire program,one on Thursday evening, one on Friday evening, and one on Sunday. The first two will be here in my home studio, the Sunday at another home on a piano I don't know. I'm also trying to arrange rehearsal in the hall, but so far, can only get it the day of the concert, which is not the most desirable.
The program itself has been submitted to the Publicity Coordinator, and I've already written program notes. These need to be proof read. I'm also beginning to send out e-mail copies of the really cool poster that has been designed for the concert. If you'd like an email version, let me know at pgach@palomar.edu and I'll be happy to forward one to you.
Time for lunch!