I posed the following question to six well-regarded pianists/teachers whose responses were varied and informative. "If after you have performed a concerto, or composition many times over, or if you are learning new repertoire, or are revisiting works in your recital repertoire, will you search for other performances on the concert stage, (or by CD)… Continue reading Should pianists consult performances of others to grow their learning process?
One of my students recommended a book by George Leonard that globalizes the idea of gaining Mastery in any field of endeavor through a love of "plateaus." (These are pauses in forward-moving progress that can either frustrate a learner, or motivate him to forge onward with an all-embracing love of the "journey.") The author begins… Continue reading Piano Study: Process not Mastery
The subject of reviewing pieces from a pianist's repertoire with the intent of considering new interpretations, whether subtle, or with bold strokes of tempo revision, mood, dynamics, etc. is part of a dynamic creative process. And with this particular focus on musical development and changes in perception, I probed Seymour Bernstein about his side-by-side you… Continue reading Revisiting pieces we have studied in the past
On first glance, most students will read down the page of Kinderszenen 1, Op. 15, enjoying a melodic flow, with only a passing interest in two additional voices. With this singular focus on the soprano line, the middle voice of relentless triplets can still inadvertently intrude upon the uppermost voice, as thumbs cross over from… Continue reading Voice parceling in Schumann’s Kinderszenen, “Of Foreign Lands and People”