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Introduction and variations (on Trockne Blumen from Die schone Mullerin), Op. 160, D. 802

Composer: Schubert, Franz

Borges Maia, Rui

Bennett, William

Roberts, Cameron

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Catalogue Number: RSS4587_1

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In general, they work on aspects such as phrasing, articulation and character of each variation. Professor Bennett explains that a change in tempo implies a change of character. The articulation should be clearer, as we are singing the words. All the 'diminuendos' have to be played in a natural way. Some high and expressive pitches should be played as a vibrato on the strings. One recommendation is to finish completely a phrase before starting the new one.

Professor Bennett compares a specific passage of the piece with Schumann's Frohlicher Landmann, Op. 68. The use of the accents in Schubert is to warn that the music has arrive somewhere - he mentions a Schubert's manuscript in which there are accents in the fourth part of the quartet. We should not be afraid of rushing the tempo when the score requires it. They work on scales in the way of Taffanel, going to the high note with more intention.