For rapid octaves (particularly in the 1st and 4th movements), I rely on slow, segmented practice combined with rhythmic variation exercises. I pay attention to keep my muscles relaxed and avoid locked fingers or stiff joints to ensure fluid motion and stamina.

In the second movement’s running notes, it’s easy to lose finger control or break the line, especially near the cadenza, where the left-hand accompaniment must remain fast but light. To fix this, I practice with tempo flexibility, slow drills, and even-tone control. I reduce wrist motion and focus more on finger strength to bring out the melody cleanly.

Wide leaps in the third movement, often following arpeggiated passages, require a strong sense of spatial distance and coordination between both hands. I dedicate time to accuracy drills and muscle memory development for quick, controlled jumps.

The fourth movement demands the highest energy, with relentless octaves, arpeggios, and running figures. To manage this, I plan my energy distribution across sections carefully and work on finger stamina through endurance-based repetition, ensuring I can maintain clarity and control without exhausting tension.

Through discussions, I was introduced to concepts like practice-as-research and the importance of decolonizing the curriculum. I gained a broader view of music education and began to question the traditional separation between performance and analysis.

I also explored how rhythm affects physical performance, and how digital tools—once seen as less “authentic”—can be powerful, emotional extensions of human creativity.

Overall, Perusall became a space for discovering new ideas, reflecting critically, and seeing connections between theory, practice, and everyday thinking.

In the first movement (Allegro), during the main theme, I use a precise pedaling strategy—only applying pedal on the first and third beats of each bar. This approach preserves the rhythmic sharpness and prevents harmonic over-blending, highlighting the driving dotted rhythms and chordal clarity. I will pair this with a firm, non-legato touch to maintain energy and articulation.

In contrast, for the lyrical second theme (around bar 44), I will adopt a smoother legato touch and introduce half-pedaling to support the cantabile phrasing while controlling resonance. The shift in touch and pedal helps contrast the martial character of the opening with the more introspective secondary material.

In the second movement (Adagio), particularly around bars 10–16, I will apply flutter pedal to retain harmonic richness without clouding the bass textures.

In the third movement (Presto), clean articulation and minimal pedaling will be essential for clarity in rapid passages. I only applying pedal from first beat and leave up on third beat.

Tempo relationships between movements will also be explored—for example, testing whether a proportional transition from the Adagio into the Scherzo (dotted quarter = quarter) enhances structural cohesion, or whether a contrast in tempo creates a more dramatic effect.

These performance experiments will be recorded and self-assessed, allowing me to evaluate how technical choices shape musical meaning. This cycle of experimentation and reflection will refine my interpretation and deepen my theoretical understanding of Schubert’s expressive intentions.

to be continue..