Spring 2021 Season - Days/Times Forthcoming

Nation Building with Antonio Pacheco / A bi-weekly look at the state of public architecture in the United States, including interviews, news items, reading suggestions, and historical/theoretical frameworks for understanding public architecture more broadly.

Grounds with Amanda Ugorji / Inter-generational interviews with artists, designers, and planners that ask what existential questions they have been working through lately and how they make their decisions.

Still Standing with Eytan Levi and Ben Hoyle / Interviews with experts about the renovation of Soviet mass housing.

Conversations on Care with Ana MiljaĨki

The Open Practice Room - Ep 05

We're moving from concerti to chamber pieces - all Schubert, to be exact!

In this episode, I work on the violin parts from Schubert Rondo in B minor (for violin and piano) and Schubert Cello Quintet Op. 163. (Want to follow along with the score? I'm using this part for the Rondo and this part for the Quintet)

Recordings of these pieces that I'm listening to on repeat: Rondo (Julia Fischer & Martin Helmchen), Quintet (Cleveland Quartet + Yo-Yo Ma) (2:48 of the quintet for the most beautiful music you've ever heard)

I mention an age-old question of the ambiguity around Schubert's accents. This article from Henle provides some good discussion on it.

(Fig 4 from this article.) The small "7"-looking marks in the top 2 lines and bottom lines... are they accents or decrescendi (hairpins)? The elongated ">" in the last bar is almost undisputably a decrescendo.

The violinist in this blog post also makes a nice summary with a conclusion that I agree with:
"Schubert uses a lot of accent marks in his pieces, and these stresses could have different meanings. The accents give us a more detailed idea of how Schubert wanted to phrase his music, and they could also indicate a metrical pattern. An accent mark can also be interpreted as indicating one level of dynamic higher than the context in which it is written. We have to remember that Schubert also writes the signs Fp, FFp and FFFp and sf or sff for stronger dynamic and emphasis levels. In his manuscripts the [>] sign is easily confused with the hairpin, and sometimes we cannot even be sure if there should be a difference between the effects of those. In our opinion, it is not possible to standardize the interpretation of these signs; therefore, we approach them in our recording on a case-by-case basis, considering their musical context."
I mention a milestone Schubert piece that I worked on previously, the Schubert Fantasie, for my senior recital in college: watch here.

Sorry for a little scratching of my hair against the microphone in the first half of the episode.

Listen to the episode here.

Links to past episodes:
Episode 01: Mendelssohn finale
Episode 02: scales, Dont No. 2, rosin, Mendelssohn finale
Episode 03: Mendelssohn finale (last page + run-through)
Episode 04: Beethoven violin concerto 1st movement (no narration)