Mozart piano sonata, Mozart Sonata in F Major K. 332, music study and ripening, musical phrasing, musical phrasing and breathing, pianist

Playing Mozart: Phrasing and Nuance

Expressing Mozart’s piano music beautifully is a composite of many ingredients that include vocal modeling; an understanding of form/structure and harmonic elements; sound imaging, and in the cosmos of the imagination, exploring how to produce what we want to hear. In our ongoing phase of “experimentation,” we delve through a terrain of unclarity, seeking ways to phrase expressively with shape and contour, accepting the premise that decisions we make are subject to change as our immersion deepens.

In a spirit of being receptive to a filter of new “ideas”, I revisited Mozart’s Sonata in F, K. 332, (Exposition) recreating the steps I took in sculpting phrases.

Along the path of my renewed journey, I discovered the following “POINTS of Interest” about the Exposition that provided a necessary framing of my re-learning process. I borrow a few, in part, from Dr. Clark Ross: http://www.clarkross.ca/143_Mozart_k332_I_Exp.pdf

“There are several thematic ideas, if the transition is included. Each of the thematic ideas has a musical character that is distinct from the others.” (My comment, I found many more thematic strands in this Exposition than in most of the Mozart Sonatas I’ve studied, and each needs a unique realization through a synthesis of the musical and physical aspects of playing.)

“Principal Theme 2, (PT2) and Second Theme 3 (ST3) have similar textures (homo-rhythmic, homophonic) but their character is different. PT2 is playful, dance-like, while ST3 is more solemn and chorale-like.

“The direct modulation to d minor at the beginning of the transition (in a markedly contrasting section) is striking. It’s part of the abrupt dramatic change to the “Sturm und Drang” character. “Storm and Stress.” (from Wikipedia: Sturm und Drang is literally “turbulence and urgency.”)

(Paraphrase)…. This transition is uniquely syncopated and intense, emphasized by frequent Sforzando markings–(I note a poignant sequential modulation from D minor to C minor, via diminished chord entrances) SEQUENCES, like these, are formidable in Mozart’s music and provoke emotional/aesthetic responses.

Dr. Ross effectively reinforces structural and harmonic considerations in the Exposition that are important underpinnings of analyses, but these will not amply address the aesthetics of creating well-shaped phrases with a Mozartean singing-tone character.

In my tutorial, I absorbed a harmonic and structural dimension that ultimately complemented and expanded a hands-on, “experimental” journey through the Exposition. It included “emotional” responses to harmonic shifts and sequences that permeate the composer’s music, while it infused the learning process with a pronounced feature of attentive listening. (i.e Listening to the decay from a previous note or sonority into the next, especially in crossover measures) Riveted attention to dissolving tones, prevents unwanted accents in measures where students misguidedly believe that the first beat of 3/4, in this instance, comes with an unchallenged pronounced emphasis. If executed in this way, a phrase can be upended by interruptions in the smooth flow of a musical line. Similarly, crescendo’s made prematurely and peaking on a downbeat, because of metrical misconception, must be re-aligned otherwise to enhance expressive playing.

Where Mozart has a plethora of juxtaposed repeated notes in his contrasting themes, I demonstrate ways of shaping these, so they’re not robotically rendered.

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Seek and Ye shall find the right FREE piano!

Once I sold my beloved Steinway ‘A’ grand that had eaten into the space of my neighbor’s apartment where it had been well cared for over a year’s time, I felt obliged to replace it. The ‘A’ had been the first piano for a beginning student who lived at the end of our walkway. For me, it was a spillover piano that I’d purchased in the heat of passion at a nearby estate sale. Located about block away, it so grabbed my attention that I sped off, played it, and snagged the beauty for a bargain price. But I knew a 6’2″ size instrument could not realistically fit into my shrinking apartment–a clutter-box of two side-by-side grands, a P-115 Yamaha portable, and a Yamaha Arius console digital. The only way I could keep it, short of considering expensive storage, was to convince a neighbor to take it bundled in with FREE piano lessons. (Pure baby-sitting barter)

As fate would have it, the family appreciated the “loan” but was heading to a smaller space that could not accommodate the piano. And my not wanting to sell my family heirloom Steinway ‘M’ to make room for the ‘A,’ was my signal to sell off the large grand along with the excess of electronics tightly squeezed into my pod.

But I could not forget the student who needed a piano to fill in the gap Steinway ‘A’ would leave by its departure (set for Sept. 9)

***

It all played out with a story-book ending. I sold my Steinway ‘A’ within a week; posted the P-115 and Arius digitals on local Classifieds, (moved them out in quick sales) while making frequent visits to Craigslist in search of a decent, small-size instrument for the neighbor.

After a short piano-searching spree, a tantalizing used Baldwin 44″ upright turned up in San Leandro, (some would call it a “console”) and it played like an angel had blessedly delivered it! So as the Steinway ‘A’ heads to a small church in Morgan Hill, the little Baldwin will look forward to a happy life in El Cerrito!

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Alessandro Deljavan is a uniquely gifted pianist

Sometimes winners of piano competitions are not true messengers of great musical artistry. They might succeed in pleasing a panel of judges who often reward interpretive conformity and convention bundled in pyrotechnical displays, bestowing the Gold medal upon the least offending contender. Yet such a career launch may be short-lived once the round-by-round environment is no longer a convenient safety net. A truly creative musician must ultimately emancipate himself from a competitive framing and develop an unbridled, form of individual expression.

Alessandro Deljavan is one of the few young pianists of his generation whose participation in the renowned Cliburn Competition brought singular adulation from audiences far and wide, but did not attach a Gold, Silver or Bronze Medal. His BIGGER THAN LIFE talent, LIVE-STREAMED from Fort Worth, Texas, in 2009 and 2013, drew a chorus of praise from pianists, teachers, and listeners around the world who enthusiastically mouse-clicked their way to his scheduled offerings. Yet, when the Italian pianist did not make the Finals, global sighs of outrage were funneled into Discretionary honors that would not soften international waves of disappointment.

Fort Worth arts critic, Gregory Sullivan and others summed up the reaction to Deljavan’s playing during the course of the Cliburn rounds:

“Deljavan’s performance was revelatory in every respect. Everyone in the hall knew that they were hearing something special-something wonderful from the very first notes. At the end, the spontaneous eruption of cheers was so different from the perfunctory ovation that any decent performance is awarded, that being part of the thrilled crowd was a unique experience in itself.”

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It’s no surprise that Deljavan is a virtuoso and poet of the piano without needing the rubber stamp of Competition juries. (Yet, he’s amassed a generous serving of first place awards at International concours)

With a mellifluous singing tone, deft technique, and immaculate phrasing, his deeply probing art serves the music and composer.

(I must admit to having shed tears listening to this Concerto excerpt) Deljavan’s riveting emotional connection to a score comes through in all style periods.

***

***

I had a rare opportunity to converse with Alessandro who was in the Silicon Valley area (CA) performing chamber music with violinist, Daniela Cammarano, and cellist, Eugene Lifschitz. The group will showcase the works of Beethoven and Brahms at the School of Music and Arts at Finn Center, 230 San Antonio Circle, Mountain View, CA. Sunday, April 16th, 2017 at 3 p.m. Otherwise Deljavan is jet-setting around the world giving concerts to appreciative audiences.

***

Alessandro shared his thoughts about the role of chamber music in the development of a pianist, along with providing a profile of his earliest exposure to the piano, journeying into the present.

LINKS:

Deljavan’s OFFICIAL WEBSITE: (Click “MEDIA” for more performance samples)

http://alessandrodeljavan.welltempered.com

Discography:

http://alessandrodeljavan.welltempered.com/#discography

https://arioso7.wordpress.com/2013/06/05/alessandro-deljavan-is-a-cliburn-winner-for-me/

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A Fear-less, Horizontal Approach to Staccato playing

Most piano students become DIS-connected when asked to play staccato. Their full blown trepidation wedded to DETACHMENT is so conspicuously on display during scale and arpeggio playing that a teacher must first devise mental cues to bring the student down to earth, in a comfortably secure traction with the keys.

It’s no surprise then, that LEGATO playing (smooth, note-to-note connection) may be the paradoxical entryway to staccato journeys across the 88s. In an octave-by-octave transit that essentially draws on a pianist’s ability to hug the keys, if not drag notes using touch-sensitive weight transfer, a resultant grooved, grounded, and gravitational centering will become the psychological and physical model for subsequent crisp releases. (It’s a natural transition that feeds relaxed and well-shaped staccato playing.)

In the following videos, two adult students respond positively to “horizontal” framings of their arpeggios and scales. They also make nice playing transfers from legato to well-contoured staccato.

Diminished 7th Arpeggio
(In slow and incrementally quicker tempos–Note that a slow-paced staccato rendering retains a horizontal dimension with teacher prompts.)

F#-minor Scale (Melodic form)

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One grand piano in, and another out, but not forgotten

My tiny Berkeley apartment had been shrinking by increments with its herd of tight-squeezed grand pianos and digital keyboards. Count in a Baldwin grand acquired in April, 2015; a medium size Steinway grand (5’7″) bequeathed by my father after Oberlin graduation, and two side-by-side digital keyboards–YDP 105, and Yamaha Arius 141. The electronics were fun to play in the wee hours of the morning, with a snug pair of earphones to ensure privacy.

In truth, I had no real need to seal off my practicing from an appreciative audience of neighbors. Many admitted to eavesdropping–pressing their ears against my door, to savor a “free” concert of diverse timbres.

Why, then would I want to add a 6’2″ grand to my overflowing, “colorful” instrument collection?

I had no intention of allowing a tenuous keyboard situation to spiral out of control, until one Saturday, a neighbor’s baritone voice boomed through my door, announcing with urgency that “a Steinway A grand piano” was the centerpiece of a nearby Estate sale.

Instantly, I recognized the Letter “A,” like a dog sniffing out and pursuing a tantalizing beef bone– the impetus of which triggered a Pavlovian response.

I sprang out the door, running like a fiend to the McGee Street framed house only a block away, in hot pursuit of a prized instrument that I’d fantasized about since adolescence.

***

 

The ebony grand with lid open, was a 1911 model, making a stately appearance, and begging to be sampled. In a heartbeat, I was seated at the piano bench, running my fingers over its immaculate set of original ivories that afforded a fluid passage from phrase to phrase.

Steinway full view

Ivory keys

The piano sang like a nightingale and was smooth as silk to the touch. It sparked an impulse to possess it that barred a shred of doubt and common sense.

It was a mad love frenzy that sent me scrambling for my check book.

But first I’d dispatch a technician for a piano inspection.

His thorough assessment came within hours, and was so remarkably positive, that I sensed the man’s imminent, if not fantasized desire to rob the cradle of my future piano-playing pleasure.

I responded with a hasty offer aimed to thwart a bid by side-by-side salivating contenders. A few had huddled around me as I sampled the ‘A,’ with servings of Romantic era repertoire– the last offering was the first tableau from Schumann’s Scenes of Childhood. (Kinderszenen, “Of Foreign Lands and People.” )

As I inhabited my ethereal playing universe, a Chinese couple had edged close to the keyboard, breaking a spellbound immersion with a barrage of questions about the ‘A.’ They wanted to know if they should purchase it.

With a tiny, transparent sales slip chugging slowly out of a machine, I quickly sealed my ownership of ‘A’ and promptly contacted the piano movers .

While the logistics of containing THREE grands in a pod-size space were beyond my comprehension, I chose to let my fever pitch excitement abate before making a final decision about the fate of my PIANOS.

Somberly, I concluded that Steinway ‘M’ had to go with its modest, though resonant voice that matched its “medium” size and proportion.

My ads for an adoptive family spread far and wide in neighborhood Online listings. ‘M’ would either be placed in a temporary home with a suitable environment, or be sent to climate-controlled storage in a bumpy ride to Oakland. The latter seemed like a death sentence.

Israel Stein, my retired technician had e-mailed me a set of valuable recommendations that supported the well-being of my ‘M.’ These were borrowed and inserted in my posts.

“1. Keep it out of direct sunlight – always. (“only an hour or so per day” is just as damaging).
“2. Keep it away from open windows and doors (especially in the winter)
“3. Keep it away from heat sources (radiators, heat vents, space heaters, etc.)
“4. Keep it away from steam, vapor, and other excess moisture (in today’s “open” floor plans, pianos often get subjected to kitchen steam and vapor).

“Unfortunately,” he emphasized, “people too often placed pianos in accordance with their home decor needs, not considering what was good for the piano.”

My ardent pursuit of a caretaker took many twists and turns.

One eager prospect, was a song writer with admirable credentials. She and her composer husband who lived about 2 miles from Steinway ‘M,’ almost became its temporary parents, but for their open kitchen in close proximity to the grand. The gas heat, and vapor would swell the soundboard, ushering in a compensatory contraction. Their bedroom was at first a possibility for containment, but ‘M’ could not fit into the small space.

Other wooing adoptive applicants were ruled out by radiators, and very young children. Still, I was clinging to the hope that perhaps my neighbors down the walkway would agree to take my ‘M’ in exchange for piano lessons bestowed upon their chirpy 8-year old daughter who sang past my door each day. It was her dad who had first alerted me to Steinway ‘A.’

***

Through this whole, foster care-seeking process, I felt more than a shred of guilt for abandoning ‘M’ though I knew that it was time for ‘A’ to claim the rightful space that had been taken up by ‘M’ these many years.

To my great relief, my neighbors came through in the wee hours of the morning with a text that they would take ‘M’! And that’s how the piano shuffle began.

(‘A’ now sits snugly beside ‘B’ (Baldwin) in my music room, as ‘M’ is resting comfortably in her neighboring abode)

side by side piano best

 

Finally, piano lessons will soon start where ‘M’ resides, and I’ll keep my ties to a piano that will not be forgotten.

Little girl in front of M

LINK
http://www.mcpianomove.com/mccreas_piano_moving/McCreas.html

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Mirrors and piano playing

As we age, we’re reluctant to look at our reflection in the mirror, but as we grow over time as musicians, the mirror of our playing in recorded “reflections” can foster quality adjustments in phrasing and interpretation.

If we nudge ourselves to step back and be “objective” about what we’re hearing, we may try to amend our next playing so it’s not a static, unaltered repeat of the last.

When I observe my own false starts, phrase imbalances, thumb pokes, and breath-short measures, I aim to improve these shortcomings by studying physical and musical dimensions that must be intertwined and synthesized.

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In a separate but related universe, Alfred Brendel, renowned pianist, puts a negative spin on the “finished” recording, while his comments upon careful scrutiny, support the self-educational value of making longitudinal student recordings. (While these exist in an “unfinished” form, being raw and home-based, they still have significant redeeming value)

In the following abridged paragraph of his newly released book, Music, Sense and Nonsense, the celebrated pianist bemoans the “impalement” by the public of renderings that permanently emblematize player. Yet amidst a string of professionally recorded efforts, Brendel appreciates an evolution of artistry that ripens over time– permeated by modified creative perceptions.

“But a recording is… simply the fixing of a moment.. so the artist should have the right to identify his work within a certain phase of his development… (And) it is only the continuous renewal of his vision – either in the form of evolution or of rediscovery – that can keep his music-making young.”

The last sentence fits perfectly into the paradigm of enlisting recordings to illuminate a particular developmental phase and to move it along to the next with sensitive adjustments and acquired awakenings. These flow through an artistically dynamic chain of youth-preserving efforts that should draw students toward recorded reflections of their playing, not away from them.

For piano teachers who evolve beside their students in a comparable growth process, home-created recordings can mirror efforts that are undergoing constant refinement without their needing “fixed” deadline arrivals, or contrived makeovers to mimic youth appeal that has no depth or substance. (i.e. fast and furious top-layer playing without thought, emotion or REFLECTION.)

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As a footnote to this discussion on the value of recordings in the learning environment, I offer a Student/Mentor mirrored-back lesson sample. (In teaching this Bach Invention repetitively, I will, no doubt, alter my ideas in consonance with an ever-changing process embedded in refined artistic illumination. The same metamorphoses will apply to the student.)

J.S.Bach Invention 13 in A minor:

LINK

http://www.theguardian.com/books/2015/sep/24/music-sense-and-nonsense-alfred-brendel-collected-essays-lectures-review-alan-rusbridger

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Livia Rev, pianist, ripens with age

Livia Rev at piano

Livia Rev, a seasoned pianist, ripened by her 99 years on earth, drew my attention during a You Tube search for performances of Chopin’s Nocturne in F Major, Op. 15. (It was at a time when I was studying and teaching the composition.)

The middle section of this work has a notable turbulent emotional shift that’s reflected in a technically challenging set of forte measures in F minor. They come with punctuated accents, and alternating, broken 6ths, 5ths, alongside larger intervals, etc. These roll over a tremulous bass carrying a melodic line that in conjunction with the relentless treble “accompaniment” above, break the spell of the opening “Nocturnal” tranquillity. (Often performers will race the tempo at this juncture in heightened displays of technical prowess.) And sometimes at break neck speed, the interlude can become a continuous blur with little definition, meaning or musical consequence.

nocturne-in-f-major-op-15-p-2

To the contrary, Maestra Lev, in her performance, resisted the temptation to significantly accelerate the parallel minor section, and instead paced it according to her artistic sensibility, still convincingly realizing the mood transition intended! (Unfortunately, this particular Chopin Nocturne video has been removed from Rev’s you tube archives)

Upon reviewing the pianist’s discography, I discovered that many of her performances have been recorded on Naxos and Hyperion labels and can be accessed accordingly.

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Into the Present

A Hungarian born pianist, now living in Paris, Rev still teaches piano at high intensity, keeping a repository of technical skills wedded to expressive musicianship that’s shared among her international cadre of students.

In an enviable mentoring example, Livia demonstrates the supple wrist as an ally to beautiful phrasing, (This is a physical/musical hallmark of her approach to the piano)

 

In the following performance of Czerny studies, Op. 821, the pianist amply puts her ideas into practice in a display of her flexible wrist that often bends beneath the so-called “acceptable” level, inviting critics in pedagogical circles, to decry “the dangerous broken wrist approach.” Nevertheless, Rev’s playing philosophy has worked well for her, and for generations of students who have absorbed her focused concentration and sagacious comments.

REV’s BIO: (WIKI)
Lívia Rév (born July 5, 1916) is a classical concert pianist.

“Rév was born in Budapest, Hungary. She started her studies with Margit Varro and Klara Mathe. Aged nine, she won the Grand Prix des Enfants Prodiges. Aged twelve she performed with an orchestra. She studied with Leo Weiner and Arnold Székely at the Franz Liszt Academy of Music, with Professor Robert Teichmüller at the Leipzig Conservatory, and with Paul Weingarten at the Vienna Conservatory, having left Hungary in 1946.

“Rév lives in Paris, with her husband Pierre Aubé.

“She has won the Ferenc Liszt International Record Grand Prix.

“Rév has performed across Europe, in Asia, Africa, and in the United States. She has been the soloist with conductors such as Sir Adrian Boult, André Cluytens, Jascha Horenstein, Eugen Jochum, Josef Krips, Rafael Kubelík, Hans Schmidt-Isserstedt, Constantin Silvestri, and Walter Susskind.

“Her first US appearance was in 1963 at the invitation of the Rockefeller Institute.

“She is well known for her light touch and clarity. Her recordings vary from complete Debussy Préludes, Chopin Nocturnes, to Mendelssohn Songs without Words.”