Evolution of an Interpretation: Schubert's Piano Trio in E Flat Op.100

In the workshop, the performers explore issues related to developing a performance interpretation of Schubert's Piano trio in E Flat OP.100, such as choice of tempo, phrasing and articulation. The workshop was given in preparation for the first live performance of the work. The research questions driving the live performances include: How does the interpretation of the work evolve through repeat performances? What impact do positive affective involvement with the work and the anticipated joy of performance have on the live event? What are the conditions under which performers can achieve performance 'magic' on stage? These questions are directly related to issues explored by Dr Dogantan-Dack in the Alchemy project (http://www.mdx.ac.uk/alchemy). My on-going research indicates that the positive affective experience of performing live is intimately bound up with the coupling of two characteristics of live performance, namely the necessity of uninterrupted flow and the inherent unpredictability of the shape the interpretation will take, creating an environment of creative freedom within a set of constraints. The research also makes evident that the affective relationship of the performers with the piece they perform greatly impacts both the affective and the aesthetic quality of the live event. In this particular case, the performers feel that it is a 'treat' to perform the second movement of Schubert's Piano Trio in E Flat. The affective context of the second live performance is significantly different as cellist Pal Banda had to use a different cello after the instrument he played during the workshop and the first live performance (a T&L Carcassi, 1752) was accidentally damaged just prior to the concert. This has created a relatively unfamiliar 'sound' environment for all three performers.