Wanderings Beyond Schubert

Abstract

My project comprises three main components: a performance portfolio, a selection of workshop materials, and a written commentary. The written commentary examines Impromptu D 899 No. 1 as a case study and presents a theoretical framework that contextualises the research interests in formulating a defined artistic proposal. The workshop materials provide guidance and practical insights related to both the findings in the writing and performance explorations. The recordings feature Schubert's four Impromptus, D 899, and Klavierstücke No. 2 D 946, offering a tangible portrayal of the study.

Drawing inspiration from the Romantic wanderer archetype and using Schubert's compositions as a laboratory, I present a working model of ‘performance as narrative’. It is influenced by practices from late nineteenth-century pianism, which include the integration of composed preludes, interludes, and personal elaborations, aligning with the nineteenth-century notion of the performer’s status as a co-author. In this context, I craft my narrative imagery from analysis to performance, engaging in a discussion process with prominent performers that inspires my narrative perspective and provides insights into the rationale behind performance choices.

I would like to further enhance the clarity of the research's purpose by explaining what it aims to achieve, why, and how it accomplishes its objectives.

What?

My research focuses on using performance as a platform to explore artistic imagery through the construction of personal narratives along with delving into the complexities and subjectivity inherent in interpreting scores from the canonical repertoire. The convergence of these two strands strives to present a cohesive framework that addresses both areas of interest. To achieve this, I have developed a set of tools and a portfolio that elucidates my own trajectory. In this context, delving into the connection between my narrative approach and a diverse range of performance practices not only sheds light on why certain traditions endure over time but also helps me gain a deeper understanding of the challenges and resistance my own performance encounters when receiving advice from others.

Why?

Personal experiences have been a motivating force behind this research, as I have frequently encountered situations where reconciling my creative choices with my mentor guidance proved challenging. In response to this, I aim to develop a working model that aligns with my individual artistic outlook while acknowledging the interpretive liberties granted to performers in the nineteenth century. The model is designed to provide performers with tools to efficiently mould various resources for constructing a narrative plot and crafting a captivating performance. However, it is important to clarify that the goal is not to impose a specific narrative on the audience when performing. Instead, the aim is to engage with how a performer interacts with their personal narrative stimulus, considering different perspectives and enriching their creative process with a diverse range of materials.

How?

This work involves a multi-phase methodology. Initially, I conduct a narrative analysis on Schubert's Impromptu D 899 No. 1. This analysis integrates theoretical concepts into a practical performance context while drawing inspiration from the Romantic wanderer archetype. After this foundational step, two pivotal actions are considered. The first one involves a process of “classifying”, immersing myself in the perspective of other performers and role-modelling their viewpoints on my approach to Schubert's works. The second action entails “declassifying” the prior classifications to further refine my own narrative viewpoint. In this process, “classification” involves the systematic assimilation of various personas, not only serving to enhance my understanding of the practices of others but also to stimulate my inclination to scrutinise their underlying motivations. This, in turn, fosters the generation of novel insights and ideas that contribute to the ongoing refinement of my artistic pursuits. As part of this process, I actively engage in discussions with performers such as Alfred Brendel, Bart van Oort, João Luís Paixão, and Neal Peres Da Costa, seeking to enrich my understanding of how to approach Schubert's works through their lens. Following this assimilation, I subject these perspectives to a merged procedure, a ‘declassification’. Here, I modify my initial classification input, revealing the acquired knowledge, reflecting on previous categorisations, and then guiding performance decision-making through synthesis and amalgamation. Such a liberating step allows me to experiment freely and select the elements that fit best with my narrative imagery cultivated during the analysis.

Bio

Currently based in China, Spanish-born pianist Óscar Caravaca is a versatile musician with international exposure in concert performance, education, and research. His academic journey spans four countries: Spain, Portugal, the Netherlands, and the UK. He has an Advanced Diploma in piano performance (full scholarship) awarded by the Academy, under the tutelage of Professor Joanna MacGregor. Before moving to London, he earned an MMus and a Bachelor's Degree at the Koninklijk Conservatorium (The Netherlands) under the guidance of Professor David Kuyken.

Since his debut at the Royal Albert Hall in London, Óscar has performed regularly as a soloist and collaborative pianist in internationally renowned halls in Europe, Asia, and South America. In his role as a collaborative pianist, he serves as a dedicated transcriber for ensembles involving the piano, receiving coaching from the Borodin Quartet. He received national recognition in 2005 from the JME, an organization with honorary presidency held by Her Majesty Queen Sofia of Spain, in acknowledgment of his work as a collaborative pianist.

As a scholar, Óscar boasts a diverse portfolio of publications and has spearheaded numerous transcultural projects bridging China and Europe. His doctoral thesis focuses on “performance as narrative” along with historical practices where the influence of Alfred Brendel, both through his writings and coaching, has been instrumental.

In the realm of education, he guides piano and chamber music students, as well as supervising artistic research projects. Oscar has served as an Associate Professor at the Higher Conservatory of Music of the Balearic Islands and as a Piano Teacher at the Academy and King's College London. Currently, he is an Artistic Advisor at the European Music Foundation and holds a position as an Associate Professor at NUAA Arts College in Nanjing, China.