Schumann: "Ritter vom Steckenpferd" 『子供の情景』第9曲「木馬の騎士」 鉄骨を持たないピアノが歌うシューマンの隠された技法 〔1825 Fortepiano〕

[00:00:28][music] [music] [music] [music] >> So, hello everyone. I'm Megumi Tanno. I am now uh going to play for the city of Schumann, uh Kinderszenen, Op. 15, Kinderszenen.

[00:01:16]Just I played uh that after Träumerei. So, I tried to play today that until eighth piece, until the end of the 13 pieces. Now, I played "Ritter vom Steckenpferd". This is very difficult German word. So, Ritter, so in English, knight, yeah? From a K. Knight.

[00:01:35]Kishi, Japanese.

[00:01:37]So, this Ritter vom Steckenpferd, so Ritter vom Steckenpferd, something inside of this German word actually already one can hear the rhythm, no? That is a very interesting thing, I think. Knight or Kishi, no. I think Ritter vom Steckenpferd, something like a Yeah, like um knight. The image of a knight with a horse, but that horse is actually wooden horse, yeah? Something >> [music] >> So, I try to play actually um the material Yeah, by the way, this is now I should also mention about this beautiful instrument built um in Vienna in 1825 by Maestro Johann Knamer, and this piano doesn't have iron frame.

[00:02:31]You can see that afterwards.

[00:02:33]And still a lot of pure wooden sound, and this is actually I feel my personal feeling that I feel quite much of this piece, no? Like Ritter von Steckenfeld. As pianist, I can also choose the color.

[00:02:50]And interesting thing that here >> [music] >> This is the key of a C major.

[00:02:59]But Schumann, he's so clever. He didn't start with a C. He started with G in a bass, no? So, what's happening? If you do >> [music] >> No, he So, this G is also gives us very much right to moving forward again.

[00:03:25]And in this >> [music] >> But then, this Ritter, like very proud, no? Like >> [music] >> So, I If I play a little bit singing, this doesn't work. In this case, I think I want to have more like bit >> [music] >> I need a little bit of more concrete sound because I want to have feeling of feeling of wood in this my right hand part. So, not >> [music] >> I can also play like this, but I try to control a little bit more woody woody sound of my right side this I wanted to because I discovered this I was quite happy. So, I wanted to share with you.

[00:04:26]And also the device that Schumann invented, the middle section of course I can use pedals, but he is a clever man that he is so wise that he add more note like someone knows that um for example, now I'm sitting in front of hamaclavier hamaclavier so, the uh the string and the hammer hitting but like cembalo instrument like harpsichord the um making a sound is a different action like so, no? Then you cannot to make one note. Now, yes with hamaclavier you can make you can make one sound like really you can play louder, softer possible. But in harpsichord you can't. So, what do you want to do? Then harpsichord player they add more note.

[00:05:25]So, here actually this that's why interesting that he Schumann didn't write crescendo inside of the score, but it automatically it become wider.

[00:05:43]>> [music] >> Because he add more notes, so it's automatically like Yeah, I study a bit of harpsichord, too, but then it's also recall that the composer like this this this time of the Schumann, he understand, of course, the how the inside of the instrument mechanic, you know, of the fortepiano so development of fortepiano and also let's say development of the keyboards.

[00:06:18]That I think you can also add to make it a nice color to play to express this piece very well. So, I hope you can Yes, you can enjoy. And then I also will continue to fast to Ernst. I also wanted to tell you something. But thank you very much for watching today, and hope you can follow me still next next series as well. Thank you.