Yi-heng Yang on playing a prelude like an improvisation
The Juilliard pianist and fortepianist on spontaneity, soft color and committing to a character.
Yi-heng Yang teaches piano, fortepiano and chamber music at the Juilliard School’s college and preparatory divisions. She performs on both modern and historical pianos.
Here are thirteen of her best tips, taken from feedback she gave young pianists after live performances, with a link to each moment on video.
1. Play a prelude like an improvisation
Think of the prelude as an improvisation, which it was: preludes were always improvised pieces in Chopin’s time. It’s just snatched out of the air. It’s not something he thought about for years; it just came to him. So play it in an airy, spontaneous way.
Yi-heng Yang
2. If the title says devilish, commit to it
It’s called a diabolical piece. The title is a suggestion of a little devil whispering in our ears. It needs lots of intensity, sinister, maniacal energy, sharp poking staccato, really extreme dynamics. You can’t let the tension go between the notes at all.
Yi-heng Yang
3. Loud is the easy trap
The easiest pitfall with this piece, when there are a lot of notes and activity, is to play louder. See if you can increase the range of interest and color in the softer markings.
Yi-heng Yang
4. Water is powerful even when it’s quiet
Think of the depth and the power of water. Even when it’s not making any big roaring noises, there’s something going on beneath the surface.
Yi-heng Yang
5. Soft color is one of the hardest skills
One of the biggest challenges for us as pianists is how to play nuance and color in the softer dynamics.
Yi-heng Yang
6. Don’t stay calm the whole time
The whole thing was very tranquil and calm. You could go more toward the agitated and the disturbed. Just a little element of that may give the interpretation more variety.
Yi-heng Yang
7. Tight rhythm makes humor work
Your rhythm is so tight that the humor and the irony really came out.
Yi-heng Yang
8. Don’t let the bar line stop you
You play everything well within one or two measures, but then it’s like you start over. Think of how a musical phrase goes longer, like a long sentence. Don’t let the bar line stop you.
Yi-heng Yang
9. Mozart is full of characters
There’s so much in Mozart that is about different kinds of characters, just like in life there are different kinds of people and personalities. Your sonata becomes a story with many characters.
Yi-heng Yang
10. In a waltz, beats two and three lift off
Imagine people swirling around a ballroom. The first beat is the most important; the second and third beats are elevated, as if when you’re dancing you’re lifted off the ground.
Yi-heng Yang
11. Hear every single note, even at speed
No matter how fast the passage, you’re capable of listening to each individual note, so that it speaks clearly. Not all the same, but enunciating every note.
Yi-heng Yang
12. Look for the composer’s jokes
Those funny repeated scales before one of the last returns: think about why he would do that twice. I found it quite humorous that Haydn threw that in.
Yi-heng Yang
13. Tell the story with urgency
Think of someone telling a story in an urgent way, like you have to say something and can barely get it out. The flow shouldn’t feel too relaxed and comfortable.
Yi-heng Yang
Quotes are lightly edited for length and clarity. They come from Ms. Yang’s comments as a judge at the 2024 Piano Star International Competition. You can watch the full performances and feedback on the Piano League YouTube channel.
Quick question
Which character is hardest for you to play?
Have a story tip or a correction? Tell us.