Tag Archives: Burgmuller

Romantic era piano repertoire: A murmuring stream and the supple wrist (Burgmuller creates beauty from simplicity)

Posted on April 26, 2013 by

“The Clear Stream” from Friedrich Burgmuller’s Twenty-Five Progressive Pieces offers a student an opportunity to create limpidly beautiful phrases from unraveled broken chords spun out in triplets. In order to create the “mormorando” (murmuring effect) in the treble, it’s best … Continue reading →

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The Berkeley Rose Garden draped in photos and music

Posted on April 23, 2013 by

Today was my maiden journey to the paradise of Roses in Berkeley. No words can amply describe the effect such beauty had upon me. (Taking pictures was irresistible) Burgmuller’s “Tender Flower” was the perfect musical framing. P.S. I made a … Continue reading →

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Piano Instruction: Don’t always accentuate the downbeat– Burgmuller’s music proves it (Video)

Posted on January 4, 2013 by

“Inquietude” from Burgmuller’s Op. 100 collection of Twenty-Five Progressive pieces, invites a player to examine harmonic progressions as a clue to phrasing a composition that’s often pounded to death with unnecessary DOWNBEAT accents. Seymour Bernstein, distinguished pianist, teacher and author, … Continue reading →

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A Purr-fect sedative for a Cat

Posted on August 19, 2012 by

“Harmony of the Angels” has a soporific effect on Aiden cat while it provided a relaxing prelude to Rina’s earliest piano lessons. Students, young and old, love its thread of sonorities. Continue reading →

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Phrasing at the piano: Listening to the ends of notes as they flow into others

Posted on June 23, 2012 by

I’ve chosen Burgmuller’s “Tender Flower” as the springboard to explore attentive listening and its relationship to phrasing. At the outset, the right moment to begin a piece is a challenge. The player has to experience the whole dimension of silence … Continue reading →

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Piano Instruction: “Ballade” by Burgmuller– phrase contouring and curves of energy (Videos)

Posted on April 25, 2012 by

Burgmuller’s Ballade from his Opus 100 Progressive Piano Pieces is often coined “spooks” because of its Halloween-like opener. Composed in 3/8 time, it moves along in ONE, though the performer should not over-emphasize the first beat in each measure. The … Continue reading →

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Development of Piano Technique all bundled into one collection

Posted on March 11, 2012 by

Instead of pumping out Hanon and Czerny exercises to build so-called finger dexterity, try Burgmuller’s Op. 100, Twenty-five Progressive Pieces. Here’s a sample of the challenges posed by the composer in each of these showcased Romantic era tableaux: Harmony of … Continue reading →

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Pastorale by Burgmuller in lilting two: Op. 100, 25 Progressive Pieces

Posted on March 7, 2012 by

A plaintively beautiful piece, Pastorale requires a lilting “feel” of two beats per measure. A flowing melody permeates the voicing, cushioned in sonorous chords. The challenge is not to upstage the treble line as it unfolds. The phrasing in the … Continue reading →

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The rolling wrist in Burgmuller’s “Harmony of the Angels”

Posted on March 6, 2012 by

Each of Burgmuller’s Op. 100, 25 Progressive Pieces is more enchanting then the next, and bundled into every charmer is a technical goal to be met. In “Harmony of the Angels” it’s abundantly clear that the supple wrist must roll … Continue reading →

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Burgmuller’s “The Return”–like a light opera, with interspersed drama (videos)

Posted on March 4, 2012 by

“The Return” from the composer’s Twenty-Five Progressive Pieces, Op. 100, is ear-catching. Like an Offenbach opera replete with an Overture, it delights in a set of lighthearted staccato chords that spill into a passionate MINOR sequenced interlude, setting the heart … Continue reading →

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