"Tales of a Musical Journey" by Irina Gorin, Cyprien Katsaris, Irina Gorin, Tatiana Nikolayeva, Uncategorized, Yeol Eum Son, Yeti mic, Yeti microphone

My Top You Tube Picks for 2013, What are yours?

My note: I’ve listed links to blogs posted about these performers.

PIANO

Grigory Sokolov Complete piano recital, Theatre de Champs Elysee (for astounding fusion of technique/lyricism/wide dynamic palette–having everything and anything at his disposal to draw upon from his rich musical repository)

Irina Morozova: Chopin Piano Concerto No. 1 in E minor, Op. 11, second movement (profound lyricism, singing tone, fluidity, molto cantabile, tasteful rubato, and more)

Yeol Eum Son, Earl Wild Arrangement of Gershwin’s “Embraceable You” (gorgeous, finessed playing with a remarkable palette of colors—immaculate phrasing)

Vitaly Margulis: Chopin Nocturne in Db, Op. 27, No. 2 (heart-fluttering phrases, perfect rubato, OLD WORLD playing at its best)

George Li, Liszt “La Campanella” (a wondrously seasoned and beautiful approach to the piano that belies his youth)

Tatiana Nikolayeva ( Old, time-honored, Romantic era-wrapped Schumann) My heart is throbbing!

Yevgeni Sudbin (Domenico Scarlatti from heaven!)

Angela Hewitt, Bach French Suite in G (Lyrical Bach and quite pleasing)

Glenn Gould, Bach D Minor Concerto (beyond words!)

Murray Perahia, Partita in E minor, BWV 830 (As always, exquisite, captivating playing, mind and heart fused all the way through)

Harpsichord:

Elaine Comparone (Robust, vibrant and the rest)

Keyboard Sonata in G Major by C.P.E. Bach

Domenico Scarlatti Sonata in D Minor, K. 517 (A knock-out performance!)

FAVORITE MASTERCLASSES

Seymour Bernstein, Part 4, “You and the Piano”

Boris Berman


Cyprien Katsaris
Chopin Fantasie Impromptu

Irina Gorin (Wrist Relaxation Exercises)

Blog LINKS:
GYORGY SOKOLOV

https://arioso7.wordpress.com/2013/01/05/the-gold-standard-in-piano-playing-sokolov-is-a-legend-in-his-own-time/

IRINA MOROZOVA

https://arioso7.wordpress.com/2012/03/17/pianist-irina-morozova-blends-a-satisfying-career-of-teaching-and-performing-videos/

YEOL EUM SON

https://arioso7.wordpress.com/2011/07/02/exceptionally-beautiful-playing-on-you-tube-piano/

VITALY MARGULIS

https://arioso7.wordpress.com/2012/04/07/the-secret-genius-of-pianist-vitalij-margulis/

GEORGE LI

https://arioso7.wordpress.com/2012/05/07/my-interview-with-george-li-a-seasoned-pianist-at-16/

TATIANA NIKOLAYEVA

https://arioso7.wordpress.com/2012/01/09/luganskys-piano-teacher-tatiana-nikolayeva-displayed-greatness-in-her-own-right/

YEVGENI SUDBIN

https://arioso7.wordpress.com/2012/01/08/yevgeny-sudbin-still-another-russian-pianist-topples-my-day/

ANGELA HEWITT
https://arioso7.wordpress.com/2012/11/06/angela-hewitt-pianist-plays-j-s-bach-beautifully-on-a-fazioli/

MURRAY PERAHIA

https://arioso7.wordpress.com/2012/01/15/murray-perahia-pianist-is-in-a-league-of-his-own-videos/


ELAINE COMPARONE


https://arioso7.wordpress.com/2011/10/17/aglow-with-creative-fire-my-nyc-visit-with-harpsichordist-elaine-comparone/

https://arioso7.wordpress.com/2013/01/07/vibrant-music-making-at-rest-or-at-play/

http://arioso
7.wordpress.com/2012/12/04/a-visit-with-elaine-comparone-at-her-harpsichord-palace-in-new-york-city/

http://www.harpsichord.org

MASTERCLASSES


SEYMOUR BERNSTEIN

https://arioso7.wordpress.com/2012/12/06/my-nyc-visit-with-seymour-bernstein-pianist-teacher-author-and-composer/

BORIS BERMAN

https://arioso7.wordpress.com/2011/11/11/inspiring-masterclasses-of-boris-berman-russian-pianist-videos/

CYPRIEN KATSARIS

https://arioso7.wordpress.com/2011/12/08/cyprien-katsaris-masterclass-chopins-fantasie-impromptu-video/

IRINA GORIN

https://arioso7.wordpress.com/2012/03/24/irina-gorin-creator-of-tales-of-a-musical-journey-shares-her-thoughts-about-braving-a-new-piano-teaching-universe/

https://arioso7.wordpress.com/2012/02/27/irina-gorins-piano-students-shine-again-videos/

https://arioso7.wordpress.com/2012/02/05/if-this-is-the-russian-singing-tone-school-of-piano-teaching-then-its-a-winner-videos/

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Rina, 5, performs at our Spring Recital (after 8 months of piano lessons) Video

Rina is moving right along. She can spin a legato phrase with finesse after having practiced her detached-note playing for months. Now she’s working on using featherlight thumbs to craft smoother lines.

Notice her supple wrist approach to the piano:

***

Here’s a sample of Rina’s offerings at the May 5th evening recital held at Valley Music Center in Fresno.

More playing:

LOOKING BACK ON EARLY LESSONS WITH RINA

https://arioso7.wordpress.com/2012/04/22/looking-back-to-early-piano-lessons-with-rina-5-with-a-solid-musical-foundation-to-build-on-and-now-the-present-videos/

Teaching piano to young children

Tales of a Musical Journey by Irina Gorin



Class starting on May 19th

http://www.powhow.com/classes/shirley-kirsten

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Piano Technique: Practicing dip/roll motions, and dead weight fat lady to skinny dipper for diminuendo (Videos)

I show my 13-year old student, Albertina how to dip/roll the last measures of Burgmuller’s frenzied Ballade, while applying weight control to taper a phrase. (diminuendo)

We’re on the final lap of preparation for Saturday’s Spring Recital!

ONLINE Webcam piano classes and Instructional schedule:

http://www.powhow.com/classes/shirley-kirsten

Play through:

Journal of a Piano Teacher from New York to California, pianist, piano, playing piano, Shirley Kirsten, Shirley Smith Kirsten, Skype, teaching piano, video instruction, video performances, video supplementation of piano lessons, virtual piano lessons, virtual piano teaching, word press, word press.com, wordpress, wordpress.com, Yeti mic, Yeti microphone, you tube, you tube video, yout tube

Skyping piano lessons with an iMac, Logitech cam, and Yeti mic (videos)

Here’s my set-up for Skyped piano instruction.

A travel itinerary minus airport delays and x-ray scanners included stop-offs in Pennsylvania, Sydney, Australia; Portland Oregon, and London, England.

Lessons have been scheduled as needed.

A Power Point-less presentation offers more:

***

A Skype lesson-in-progress to Sydney fleshes out a bi-screen video landscape. (two Logitechs in synch)

I always suggest video supplements to real-time, virtual learning because they allow a closer examination of student problem areas with an eye toward remedies.

Video sharing is even better, where a pupil sends off an Unlisted or Private You Tube playing snippet, and I dash off a video response.

In a word, modern technology in various forms can be enlisted to meet the needs of students who require scheduling convenience amidst a busy work day, or who live in a rural area without easy access to a private teacher.

***

LINK: A Video supplement to a Skyped piano lesson

https://arioso7.wordpress.com/2012/03/30/a-video-supplement-to-a-skyped-piano-lesson-instruction-for-minuet-in-g-minor-from-anna-magdalena-bachs-notebook/

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J.S. Bach Fugue/Piano Lesson in Progress, (BWV 847 in C minor) plus Aiden Cat begs for affection, feeling left out (Videos)

Claudia, 11, continued practicing Bach’s Fugue in C minor, (Well-Tempered Clavier) following a break for the Baroque Festival. We had intensified study of the Prelude in preparation for this event.

For today’s lesson, our work encompassed the Fugue opening through measure 20.

The manuscript below incorporates the theoretical mapping of Jose Rodriguez Alvira

http://www.teoria.com/articulos/analysis/BWV847/index.htm

AIDEN CAT

Aiden got into the act following Claudia’s lesson as he felt forlorn and out in the cold. A preceding Skype to Pennsylvania kept him out of the fray, encapsulated in a warm bedroom within easy reach of his food bowl. But that was not enough.

He wanted to make up for lost time with a shower of affection from me. And he deservingly received it…

purrrrrr…..

Alfred Cortot, Arthur Rubenstein, Artur Rubenstein, Artur Rubstein and Chopin, Artur Schnabel, Butterfly by Edvard Grieg, Chopin, Chopin Waltz, Chopin Waltz in Ab Major Op. 69 no. 1, Chopin Waltz in Ab Op. 69 no. 1, Edvard Grieg, Frederic Chopin, iMac, Leonard Pennario, Mary Kunz Goldman, Mary Kunz Goldman authorized biographer of Leonard Pennario, pianist, piano, piano repertoire, piano technique, Piano World, pianoworld, pianoworld.com, playing piano, Romantic era music, Romantic music, Shirley Kirsten, Shirley Kirsten blog, Shirley Smith Kirsten, Stephen Hough, tempo rubato, The art of phrasing at the piano, the art of piano playing, Uncategorized, whole body music listening, word press, wordpress.com, Yeti mic, Yeti microphone, you tube, you tube video

Chopin Waltz in Ab Major, Op. 69 No. 1–considerations of mics, recording conditions, and tempo, with performance comparisons

First, I have to admit that my prized Yeti mic suffered yet another break-down. “Break” is to be emphasized. I tripped over the wire on the way to Haddy Haddorff, and the sensitive connector from iMac’s USB port to the mic itself was altered. Yeti wouldn’t register on “Preferences” as an external no matter how I tweaked that little metal doo-dad that plugs into its host. The more I twisted, turned, cajoled, and said any number of prayers, the less anything registered with the powers that be.

So I didn’t want to abandon my recording session in any case, and decided to wing it with iMac’s own built-in job. Ugh! I had awful experiences that preceded this one, so I wasn’t expecting an overnight miracle or transformation.

Just the same, I figured, I’d swoon over the Waltz and hope some Romantic flavor seeped through one way or another. And then I reminded myself of those old, scratchy recordings where Arthur Schnabel played divine Beethoven, or Cortot lectured about Chopin with those hard-to-decipher playing samples. Still, people listened.

What about Grieg performing his “Butterfly” piece under less than perfect conditions, or any number of keyboard legends leaving bare traces of themselves on audio?

So what. While I was far from legendary, I could leave behind a less than perfect mic-ing of the Chopin Ab Waltz.

***

Well, since composing the previous apologia, I remedied the mic, and subbed in this video:

Next consideration: Tempo. So did I care what so and so pianist did with the Waltz in the way of pacing it? I certainly wanted a good example of tasteful rubato, and hunted down a few readings with that in mind. Stephen Hough was the first that popped up on my screen. (radar screen, perhaps) He was flashing back to the past, I think, coming toward the piano with a 40’s era hat. Everything was in black and white evoking an earlier time, but nowhere near the period that Chopin lived.

It was a creative mood painting.

I liked most of what he did in the way of interpretation, dynamics, give and take, but I couldn’t envision myself playing the Ab Waltz quite that fast all the way through, though his reading was very well styled. Would it fit me in the same way? There were sections that seemed a bit too casual, but still valid. He plied the phrases nicely. In all, I like parts of the whole, but the whole had parts I wished were more lingering.

My next stop was Leonard Pennario and his reading which I instantly doted upon. The only question I had related to the tempo change on page two. Suddenly everything took off, though I didn’t notice directions in the score to that effect. Perhaps I had been under the wrong impression all along about that specific section?

Pennario’s interpretation, overall, was my preference as compared to Hough’s. (I did note, however, that both pianists had apparently used different editions because there were some note changes between scores)

Regardless, I felt that Pennario registered a contemplative Chopin with a nice, fluid rubato. His tone was gorgeous, and he well paced the composition playing it significantly slower than Hough.

Finally came Artur Rubenstein, and as expected, I knew that I would embrace his performance. It seemed plaintively beautiful, effortlessly delivered, as if the music were allowed to play itself.

Similarly, I didn’t find any abrupt tempo shifts between sections, though, like Pennario and Hough he quickened the pace on page two, but less conspicuously.

Regardless of whether I favored one of these performances over another, a salient feature of all was the personality and conviction that came through. If nothing else, an individual and creative expression among pianists would be something to emulate.

To summarize, this You Tube outing proved to be a thoroughly valuable learning experience

For certain, tomorrow I’ll try to round up a decent mic and do my best to realize what the composer intended. Best case scenario, it should be without the handicap of a built-in sound system that could compromise a pianist’s playing in an any time or era.

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Performing a piece–Getting it right (all the notes) OR really getting it right (the phrasing and nuance) VIDEOS

For many pianos students, playing 100% perfect notes, with no clunkers is goal in itself.

They breathe a sigh of relief looking back on a video of a recital, where they managed to “get it right,” counting correct notes from beginning to end. One even managed to play note perfect while intermittently eyeing her family seated in the third row.

But playing rises above myriads of notes permeating a composition.

Videotaping at Piano Lessons

In the piano studio, which is some ways a learning lab, we try to be as objective as possible in our review of playing from week to week, keeping in mind that music is a form of communication from a heartfelt place–It’s a language of phrasing and nuance.

In this frame of reference, note perfect playing without beautiful phrasing, nuance, dynamics, etc. can leave a listener, if not the player, out in the cold, disconnected from music’s warm embrace.

In the creative process, most performing musicians strive to integrate the notes into a beautiful mosaic of well spun phrases, creating a space where inspiration reaches beyond the artist into the audience of listeners.

Embracing a mantra of art for it’s own sake, with a sense of its feeding the soul and spirit with the nourishment it needs, I set out to videotape one of my students reading the Bach Invention 13 in A minor.

Over a period of two weeks time we reviewed a few of her playings and together commented on them.

At the last piano lesson, Claudia recorded the Invention three times, with a gap in between to discuss what we both decided needed improvement

In this way teaching was not dispensed from one individual to another, but became a shared learning experience.

What it basically came down to, was “letting go” of the notes that she had learned well, and instead, thinking big shapes, with relaxed, swinging arm motions.

We talked about the dualism of the Subject with its arpeggiated opener in legato 16ths followed by staccato notes in 8ths. To thread this MOTIF throughout the Invention, wherever it occurred, in one voice (Right Hand) or the other (Left Hand) was a priority. This is the hallmark counterpoint or dialog of voices that Bach cultivates.

I prompted her to shape the arpeggios with a round, rolling motion of her arms, using supple wrists, and to play the staccato notes, press lift, but with definition.

Our collective goal was to “let the piece out of an encapsulated space.”

This last of her playings is on the way and will continue to grow with each passing week. (She is rehearsing behind tempo)

***

Like my students, I’m engaged in the same process, videotaping myself myriads of times, stepping back and assessing what I have to do to rise above the notes to reach a spiritual place in my music-making.

And by example I recorded the same Bach two-part Invention in A minor many times, but left these two to compare. (played on my Haddorff) In one sample, I inadvertently left the mic down on the rug a few yards from the piano which created a timbre that is quite Baroque. The other had the mic up higher, front and center.

I still need to refine my own performances, and watching these on camera gives me a clearer direction to take in the future.

Hopefully, this process of examination by videotaping in the piano studio, will be of help to other teachers and students as they grow and learn together. It’s worth the effort.

Link of interest:

“The book’s substance is rewarding and refreshing. He speaks of a topic we cannot hear enough of: learning. I think everyone will benefit from the call of William Westney’s book: activate your minds, breathe life into music, dare to make and learn from mistakes, and ‘get back in touch with your magical three-year-old self.'”
– David Schwartz,
American Record Guide

Televised Interview with William Westney:

http://www.youtube.com/watch?v=_jrlsLGwi0w

Shared ideas about learning Bach Invention 13 in A Minor

https://arioso7.wordpress.com/2011/12/18/tutorial-shared-ideas-about-practicing-j-s-bach-invention-13-in-a-minor-bwv-784-videos/