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Jacques Rouvier, Chopin, Piano Sonata nr. 3

Sequence published on 12/2/21
Composer : Fredric Chopin
Year of composition : 1844
Artistic period : 19th century
Musical category : Sonata
Academy : Academy Feb. 7 - Feb. 14, 2021
Master(s) : Jacques Rouvier
Student : Julien Braidi
Date of recording : 10/22/21
Instrument(s) played :

"You have to tell yourself the story, and when the story is clear, you tell it to others." Jacques Rouvier

About Jacques Rouvier's Piano class on the Sonate pour Piano No. 3

Piano Master class by Jacques Rouvier | Chopin, Piano Sonata n°3

"At the beginning of class, immediately after hearing the student play the Largo of Frederic Chopin's Third Sonata, the master says that there are some teachers with whom one could have 24 hours of class per day: the left ear and the right ear. In this sense, he
notes that the student must know where he is going, since it is, in some way, an ""inner journey."" 
He notes that orientation is key: the interpreter must be clear about the direction. This is, in part, a consequence of knowing the work in detail and having a plan: “you have to tell yourself the story, and when the story is clear, you tell it to others."""

"When thinking about the plan of the work, highlighting its contrasts, the master suggests many corrections on dynamics, color, changes in tempo, the use of the pedals and, mainly, on the character of the work (for Frederic Chopin, he suggests many similarities to Wolfgang Amadeus Mozart).
The class is developed with constant observations by the master that, undoubtedly, have an effect on the student who, as the work progresses, understands the corrections, and improves his interpretation.
"

What we learn in this Piano Master class

-The mute can be used to get an intimate climate
-Be aware of suddenly tempo changes
-The “story” must be clear
-How to sound intimate in a large concerto hall
-Chopin´s music must remain transparent, as in Mozart
-Importance of phrasing
-There is a kind of nobility in the drama and this nobility, a bit like in Beethoven's, it
holds the tension of the rhythm
-Sing with the piano
-The arm is the lung of the fingers
-Music is between notes. It is not on notes, it is in harmonic relationships, intervals

About Frédéric Chopin's work

The Piano Sonata No. 3 in B minor Op. 58 was the last of Frederic Chopin’s three piano sonatas, written in 1844 during the years of his full maturity as a composer. In contrast to the "Sonata Funèbre," it moves closer to conformity with both the formal and the generic archetypes of which was already becoming recognized as German sonata-symphonic thought. It is as though having come to terms with the four-movement sonata in Op 35, approaching it obliquely by way of the familiar "Chopin genres" of the early 1830s, the composer now felt able to tackle this weighty genre on his own terms. This is apparent in the close-knit motivic argument (the developing variation) of the first movement, and in the measured tread (late Beethoven, late Schubert) of the slow movement.
"The Largo (in B major) is replete with song. It has the shape and character of a nocturne, a song (actually an aria) of the night. A nocturne cantabile flows through its outermost sections. It is serious, focussed, held back by a dotted rhythm, similar to the cantabile of the Nocturne in C minor. But for a moment the narrative breaks off. The melody halts, ponders a while, and then gives way to questions cast into an empty space. Frederic Chopin gave the middle section of the Largo to contemplative, self-absorbed music. Its waves seem immobile, though here too the narrative breaks off and we hear ""unanswered questions."""
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