In a lifetime, a few flashing moments of inspiration may guide our musical journey, deepening our understanding of a composer and his music.
In this nostalgic universe of enlightenment, I treasure a precious parcel of wisdom imparted by gifted pianist/teacher Irina Morozova at the Special Music School in Manhattan, 2014. In a private sitting with an icon in the world of mellifluous phrasing and heaven-on-earth renderings, I absorbed her convincing, poetic alliance of words and music in the Chopin literature. The initial introduction that encompassed the Rondo No.2, Op. 16, was a desired segue way to a phrase-centered discussion of the composer’s ethereal Nocturne in E-flat, Op. 9, No.2.
At this juncture in the Fall, 2014, I’d been studying the “nocturnal” composition, having struggled with various phrase marks, that if literally obeyed, would seem to impede a long musical line, with sub-gestured lifts of the hand.
Morozova’s ideas and demonstrations that were pertinent to my introspective process, became embedded in my consciousness, growing over time in a memory bank, to be drawn upon in a re-learning sequence of Chopin Nocturnes, Mazurkas, and Preludes.
Knowing the challenges my adult students face in their individualized creative journeys through Romantic era piano literature, I thought a timely revisit of the pianist’s treasured epiphanies in the attached video would be a valuable source of learning and inspiration.
NOTE: Morozova’s understanding of words and the breath in alliance with tasteful rubato, requires supple wrists relaxed arms, and a natural application of weight transfer.
A sample of Irina Morozova’s Chopin-rendered musical poetry.(The composer was wedded to the opera in his embrace of Bellini)
Chopin Mazurka, Op. 63, No.3
My own growth spurts in interpreting Chopin have been nursed along by my long-time, East Coast friend whose playing and mentoring are powerful influences upon the greater community of students and teachers.
Chopin Mazurka in G minor, Op. 67, No. 2
Chopin Nocturne in Eb Major, Op. 9, No. 2