Suggestions of different piano works for a practice session:

Begin:

• J.S.Bach, Well-Tempered Clavier Book II – Prelude and Fugue D Minor BWV 875

Connected work:

• L.v.Beethoven, Piano Sonata D Minor Op. 31 No. 2 – “The Tempest” / First movement

Related works:

• S.Rachmaninoff, Piano Concerto D Minor No.3 Op.30, First movement
• Bach-Busoni, Chaconne / First part to the begin of the D major key section (quasi Tromboni)

You can take these practicing ideas to build a large repertoire. Try this every day, rotating with other pieces and being creative in the combination of them for your session. Be sure to remain highly concentrated during the whole practice, otherwise your work will be unproductive and unreliable.
If you have any questions, don´t wait and ask for help by simply posting a comment.

What is actually the art of the motivic thorough-composition?
Developing a theme is nothing but the quintessence of the composer´s work.
How does it happen?
No matter how often, how slowly, or fast, or even loud or soft the theme is announced, this is a very personal decision of the composer. The motif could even be the emblem, which is representing the entire musical work of the author.

Let´s draw our attention to the striking theme from Beethoven´s fifth symphony:

Score picture: Beethoven – Main theme from the Symphony No.5 Op.67- Source: Wikipedia

This is doubtless one of the most important and innovative themes in the music history. Figuring the steady fight of Beethoven against the fate, this famous opening strongly influenced the further development of the traditional sonata form.
According with insiders, the sonata form represents the central point of the art of composition, especially when considering sonatas and symphonies of the 18th, 19th, and 20th century.
This musical form could be compared to a framework, in which the object is constructed and developed, in this case the musical work as the sonata or the symphony.
Let us get back to our motivic thorough-composition.
If we consider this composing technique as the composer´s logo, we could fervently be tempted to ask the question, whether the way to a successful interpretation drives us either to remaining true to the score or true to the masterwork.
In answer to this question we should remind of the issue of this essay.
The motivic thorough-composition is hearable.
To make this happen we need to apply a particular art of piano playing, which goes far beyond the usual technical abilities.
The control of the kinesthetic feeling only represents the fundamental skill to reach the effective technical abilities on the instrument.
To achieve this goal means the comprehension of accurate analysis and synthesis of the composition´s structure.
The interpreter is identifying himself with the composition and his playing is inevitably modified. Let us think again about the symphony, the motivic thorough-composition includes the complete identification with the creative thought of the composer.
So it can be affirmed that “symphonically” thinking is equal to “symphonically” feeling, and last means “symphonically” playing or reproducing.
The motivic development of a musical work is directly related to a symphonic-structrured knowledge: deeply understanding how a theme is developing and evolving through the way of polyphonic manner.
A pianist receives the basic education in polyphony studying J.S.Bach, particularly the Preludes and Fugues from the Well-tempered Clavier.

Further steps in polyphony can be pursued in the 32 piano sonatas by Beethoven.
Continuing the research of mysteries and enigmas of the polyphonic style can guide us to works by Chopin, Brahms and Rachmaninoff. When discovering Prokofieff´s music we can actually meet the union of polyphony and polyrhythm.

As a conclusion we can say that the circle always closes, in life, in the universe, as well as in music. Music is the language of universe, and universe is polyphony.
Once we understand polyphony, we even understand the motivic thorough-composition.

Thepianist.com starts with Glenn Gould, the eccentric Canadian pianist who certainly set a milestone in the history of the piano and pianists.

A large source of information has been written, spoken, broadcasted about Glenn Gould.
It will not be necessary to put more information about him, as it is already available. And everybody knows that there are controversial opinions about his interpretations.
Let us simply remember Glenn as someone who wanted to change the old patterns of classical music, to bring more life in the masterworks of great composers, to suggest new and original approaches to the score.

Glenn´s personal note was doubtless his conducting the music he was playing (when one of his hands was free, of course) and, last but not least, his permanent humming over the notes, the phrases or the bass-line, whatever he thought it was right to do.

Another personal note was also his polyphonic playing.
He perfectly understood how to study the score, how to read the voices in the context of the composition, how to analyze the structure and finally how to play like a string quartet or even an orchestra.

My personal recommendation to all pianists:
Don´t try to be a second Glenn Gould, the world has already one and he is enough. But you can take him as an example.
You can also decide to continue his purpose.
Be yourself, like Glenn was, and your style will develop in the right direction.
“Thank you Glenn, for showing us what to do, what not to do, how to do it, how not to do it.”