In the course of teaching, a situation may arise where a particular favored piece is requested by a student that I've never studied--which means a deep-layered journey is ahead of two learning partners. And given that J.S. Bach's Prelude and Fugue in Ab, (Well-Tempered Clavier Book 1) requires thoughtful fingering choices; an awareness of Baroque… Continue reading J.S. Bach Prelude in Ab, BWV 862: A Fresh Start for Student and Teacher
Within 48 hours, high-level music-making was heard in vastly different venues. Louise Davies Hall with its golden hue of lights and balconies provided a stunning backdrop for Daniil Trifonov’s heart-throbbing performance of Chopin’s Concerto No. 2 under the baton of Michael Tilson Thomas. Respighi’s Roman Festivals that concluded the concert, pierced the sound barrier in… Continue reading Two San Francisco musical attractions: Pianist, Trifonov and a Chinese Harpist
This was a happy reunion after many long months. The last I caught up with Friedrich Edelmann and Rebecca Rust they were returning from one of their European tours only to land one in Japan, playing for the Emperor and Empress. The happily married bassoon and cello duo, who sometimes add a pianist to the… Continue reading Dining with musician friends at Bacheesos in Berkeley, CA
Chuck Terpo, who continues to finely regulate my Steinway M grand, gave an encore performance yesterday, as he meticulously "lightened" some weighty bass notes. His nifty maneuvers on display in my iPhone generated video, revealed an analytic approach and smooth follow-through. Watch Chuck methodically check the bass range, that was a bit too heavy for… Continue reading Piano Maintenance: Resolving a weighty problem
It would be easy to reel off a list of prizes in 4 separate Moscow competition categories and characterize all recipients as "winners,"--that is if we put music-making into the sports arena with a clear cut victor and an opposing loser. In pro-tennis, for example, where a point-scoring system is in part influenced by calls… Continue reading The Big Winner in the XV International Tchaikovsky Competition!
Elaine Comparone insists that playing Haydn's works on the harpsichord stirs her "imagination to new heights." The harpsichordist's upload of Haydn's eloquent Sonata No. 52 in Eb Major ironically paralleled Reed Tetzloff's piano performance in Moscow which introduces an aesthetic comparison or two. Reed's You Tube channel features the opening Allegro movement, https://youtu.be/q6l2qguKhik while his… Continue reading Haydn on the harpsichord or piano? (Competition interlude)
Among many opening piano recitals beamed around the world by Medici in the first round of the Tchaikovsky Competition, George Li's display of virtuosity was the most riveting for me. A synthesis of intellect, emotion, sensitivity and spontaneity hallmarked Li's interpretation of Bach, Beethoven, Tchaikovsky, Chopin, Rachmaninoff and Liszt masterworks. A replay of the opener… Continue reading A Triumph for pianist, George Li!
In this excerpt from Lara Downe's San Francisco Classical Voice interview with Stephen Hough, the universe of growth and musical ripening is explored. Lara Downes: Your teacher, Gordon Green, was a great influence and inspiration to you, and you’ve quoted him as saying to you, when you were a young student: “I don’t care how… Continue reading Pianist, Stephen Hough talks about growing a piece over time
It's common for piano students to divide their scales into well-boxed rhythmic compartments, emphasizing the fundamental beat that interrupts a smooth flowing legato (connecting from note to note). Sometimes players are unaware of their reinforced "beat" counting impulses and need occasional reminders of what's communicated to the listener. (who happens to be the innocent bystander… Continue reading Piano Technique: Playing scales without bumps or accents
A musician's understanding of a masterwork is a composite of ideas derived from many sources. In the course of piano study, perceptions change and grow, enlarged by a combined theoretical and musical examination of a composition that invites mentors into the mix. In this tutorial, I realized how I synthesized the contributions of harpsichordist, Elaine… Continue reading J.S. Bach Prelude No. 1 in C, Voicing and Harmonic Rhythm (my ideas and Seymour Bernstein’s)
