Direct Pedaling, piano pedaling, Preliminary Pedaling, Syncopated pedaling

Piano Teachers and Pedaling

In the cosmos of pedaling, where the “soul of the piano” is explored, I asked a few teachers about when and how they introduce students to the use of the sustaining or damper pedal.

Definition of Terms: https://www.pianocub.com/blog/3-piano-pedal-techniques-you-need-to-know

Legato/Syncopated Pedal

“In legato pedaling, the sustain pedal is pressed down after a note or chord has been played but before it has been released. It’s called legato pedaling because the pedal is used as a way to connect notes together and create the illusion of smooth playing. This technique is also called syncopated pedaling.”

The Direct Pedal

“In the direct pedal, the sustain pedal is depressed at the same moment the keys are struck. This is useful for accenting a sharp attack or giving a big chord some extra resonance.”

The Preliminary Pedal

“The pedal is pressed down before the first notes of a piece or section. This allows the piano to be at its most resonant when the keys are struck and creates a full, deep, and beautiful sound.”

***

Irina Morozova

I introduce pedal when students are ready. Usually it doesn’t happen until the second or even third year (with kids). I give them simple exercises for direct and late (syncopated) pedal and explain the difference. Pedaling is an extremely difficult subject to write about: It’s too complicated and subtle. But when students are ready to pedal, I expect them to do it perfectly so we work very hard on it, using more and more complex pedal tricks.

Rami Bar-Niv

I introduce pedaling when we get to repertoire that requires it and when the student can reach the pedal comfortably. I don’t use pedal extenders for small kids. I prefer that the student is first well-grounded in playing without the pedal.

When I teach the use of the pedal, I start with syncopated pedaling as “default” and later move on to various pedal techniques and uses as they are deemed necessary and required by the music.

I never mention the concept that pedal is used for legato playing even though it can help with legato at times. I view the pedal as enhancement and enrichment of the sound and as an aid in phrasing. The use of the pedal depends not only on the music that’s being played but also on the piano it’s being played on and the room it’s being played in.

***

Seymour Bernstein presents his views on pedaling with compelling demonstrations of actual exercises he enlists in the early years of study, continuing with a more complex mentoring/development of pedal techniques as students advance.

In vimeo format, Bernstein explains and demonstrates the history of the right pedal.

Seymour’s Introduction

We learn two startling facts: 1) Hairpins, (cresc. and decresc. markings), beginning with Beethoven, mean tempo fluctuations, and 2) In my opinion, the asterisks, following Chopin’s pedal indications, mean nothing at all. Along the way, I reveal important information concerning interpretation, all coupled with PowerPoint slides which show the points under discussion. It’s a must for all teachers and serious pianists.

***

In his book, The Art of Piano Fingering, Rami Bar-Niv explores finger pedaling as a technique applied to the same measures of Chopin’s Ballade No. 1 in G minor (LH) that Bernstein referenced in his video trailer. Bar-Niv, then further probes the same work.

Bar-Niv: The tool of finger pedaling can be very helpful when playing without using the sustain pedal or when pedaling needs to be cleared if some extra resonance and overtones are still desired. It can also be very effective when we wish to bring out some extra-hidden voices/melodies in the music.

***

Kirsten: From my teaching perspective, the world of pedaling is filled with complexity. Mentoring students about how to use the pedal as an enhancement of musical lines, fleshing out colors and nuances the pianoforte affords, is an incremental journey. Attentive listening should be at its center, supported by technical and physical approaches that best realize what is an imagined sound image. The process of assimilating various dimensions of pedaling may take years of exposure to varied repertoire. And what might work for a Chopin composition in sound imagery terms, will not necessarily carry over to a Debussy Prelude. It’s our job as teachers to help sort through the varied tonal and atonal vocabularies of composers as we explore their works. By experimenting with pedaling options and exchanging ideas back and forth with our pupils, we foster mutual musical growth.
***

Links:

Irina Morozova
https://www.newschool.edu/mannes/faculty-az/?id=4e6a-4932-4d77-3d3d

Rami Bar-Niv
Author The Art of Piano Fingering
https://www.amazon.com/dp/1479285277/ref=cm_sw_su_dp

https://www.youtube.com/user/barniv

Rami’s Rhapsody Piano Camp for Adults of all piano-playing levels in San Francisco, April 22-28, 2018.
http://rami.ybarniv.com/?page_id=198

Seymour Bernstein
http://seymourbernstein.com

piano performance, piano playing

Favorite you tube video picks for 2018! (carried over from 2017)

I slipped up and missed the deadline for my end of 2017 super You Tube picks–realizing a bit late, that readers were celebrating the New Year in different time zones. Piano lovers from Japan and Australia had already popped champagne bottles 18 or so hours before those of us partook on the West Coast–And with USA Central, Mountain, Pacific and Eastern Standard times causing out of synch drifts of celebration, my Big Five You Tube List fizzled at 9 p.m. P.S.T, Dec. 31, as the stroke of Midnight Times Square (E.S.T.) ball drop welcomed 2018!

Still, redemption lay in a timeless series launched by the New York Times with long columns of piggy-backed you tube videos, Classical in genre, that were time-monitored for their mind-blowing moments. They fleshed out feats of virtuosity; heaven-on-earth phrase turns; wailing trills and heart-melting cadences. A harpist, Amy Turk, was singled out for her miraculous transcription/performance of Bach’s Toccata and Fugue in D minor, amassing over 4 million views!

It became my bonus heist pick, falling outside keyboard bounds.

****
In the Piano Universe

Luis Fernando Perez

http://www.luisfernandoperez.com/homepage.html

The artistry of Luis Fernando Pérez (Spain, b. 1977) topped my list, though choices following, from various years, accorded no preferential order.

Pianist, Perez, was my most treasured “new” You Tube surfing discovery, though he’d been circulating through Europe for years as soloist, chamber music player, and recording artist, earning performance awards along the way. Yet even with prestigious IMG Management, Perez had not reached the pinnacle of “big Name,” billboard success, having instead chosen a more true-to-art journey, reflected in his passion for Spanish repertoire that he chose to play in selected concert venues. (Carnegie Hall, or the Walt Disney complex were not along his musical route)

Perez’s website had revealed touch-downs at European Festivals interspersed by a foray to Kansas for a Master class and performance. He landed in North Carolina for a recital, though his travels inevitably pointed back to Europe.

In 2014, Perez played in Bilbao, Nantes, Paris, Madrid, Valencia, Zaragoza, San Sebastian, Brussels, Saint Petersburg, Budapest, Warsaw, Tokyo, Lyon, and Toulouse, with no further Internet posted concerts on his site. Judging by a significant escalation in Internet exposure post 2014, his energies seemed redirected to the recording cosmos.

Bryce Morrison, published a 2012 review in Gramaphone that amply described the pianist’s abundant gifts.

“RISING TO PRISTINE GLORY: Luis Fernando Pérez is clearly among the most individual and gifted pianists of today’s generation.

“And, in his more recent disc of Granados’s Goyescas, his playing is audaciously personal and has an improvisatory freedom and coloration very much his own. He achieves a superb senseof contrast, of innocence and experience…”

***

Perez’s interpretation of Spanish music is compelling as “channeled” through his performance of Enrique Granados Valses Poeticos. His radiant singing tone; broad palette of “colors,” and poignant creation of emotional intimacy draw the listener into a deep and abiding relationship with the composer.

***

Seymour Bernstein: A newly discovered awakening to tempo and mood in the Schumann Arabesque

A previous blog gave details and background about Bernstein’s epiphanies:

https://arioso7.wordpress.com/2017/08/30/pianist-seymour-bernstein-revisits-the-schumann-arabesque-at-the-age-of-90/

Seymour’s performance speaks for itself with its effortless spill of melody bundled in harmonic warmth. There’s no tempo impetuosity, or pre-meditated, boundary-determined section transitions. It’s all woven together as pure poetry flowing from the heart.

***
David Fray: A humbling encore follows a concerto performance:

J.S. Allemande from Partita No. 6 in E minor

This is an inspired rendering, well-voiced by Maestro Fray.

***

Irina Morozova – Bortkiewicz Etude Opus 15, No 9

Heaven on earth playing with impeccable fluidity. No words suffice to describe.

***

George Li plays Haydn with his emblematic liquidity and singing tone.

The complete Haydn sonata in B minor was the divine opener to Li’s October 2017 recital at S.F. Davies Hall.

https://arioso7.wordpress.com/2017/10/09/a-worthwhile-journey-to-george-lis-triumphant-davies-hall-piano-recital/

***
Finally, Happy You Tube Surfing to All in 2018!

piano, piano teaching, piano playing, pianoforte, pianos, playing the piano, Schumann Arabesque, Schumann Arabesque Op. 18

Pianist, Seymour Bernstein revisits the Schumann Arabesque at the age of 90

As I grappled with matters of tempo, mood, and interpretation in learning a Baroque era work, I found a kindred spirit in Seymour Bernstein who openly shared his introspective thoughts about re-thinking a well-known composition in the piano literature.

Encapsulated in an e-mailed communication to his league of followers, Bernstein addresses the common temptation among musicians to check recordings of other pianists to validate personal and individualized interpretative choices. His words are sobering and candid as he explains how he has come to choose a “new” pace and affective interweaving of emotions through various sections of the Schumann Arabesque, Op. 18. His enlightening revisit is a tribute to his evolving understanding of music that has grown by steady increments over decades. It suggests a creative point of departure from which we can derive great benefit.


***

Dear friends,

“Schumann’s Arabesque is among the romantic works that elicit a wide variety of interpretations. I, personally, don’t like to listen to performances of the pieces I study. I prefer to come to my own conclusions, and then listen out of curiosity to see how other pianists interpret the compositions I am working on. In terms of tempo, Arthur Rubinstein and I are the only pianists I have heard who take the opening theme of Arabesque leisurely. Everyone else races through it with breathless intensity, even though the English translation of Schumann’s indication is “light and tender.” More curious is that most pianists play sections B and C faster in contradiction to Schumann’s “etwas langsamer” (“somewhat slower”). I’m no exception. I confess that I did the same in my first performance of this work on You Tube, which I now will remove.

“Perhaps it’s the age of 90 that has inspired me to probe this work with far greater introspection than I have in the past. Now that I know that most “hairpins” in romantic music mean rubato, and not cresc. and dim. I take more time whenever they appear. Moreover, I like to play the coda, Zum Shloss, Langsamer (“slowly”) as Schumann indicated.

“Finally, the question is “How fast is fast, and how slow is slow?” It is the human condition to respond as we see fit. There are no rules concerning tempo, even though composers often leave Metronome markings. But through the years, composers have come to place the word circa, meaning around, or approximately, before the Metronome number. Beethoven said it all when Schindler asked him “Master, how fast is this Allegro?” Beethoven’s response must have amazed Schindler: “Allegro doesn’t mean fast,” Beethoven replied; “It means “merry.” The lesson we learn from this is that tempo indications are feelings, and not simply mathematical equations. Because we all think that the composers whisper their secrets in our ear, it is small wonder that there is an interpretation for all seasons.”

Seymour

piano, Rosina Lhevinne

Favorites, On AND Off the You Tube screen

This week reaped a set of Internet-channeled treasures along with an off screen, chance meeting with a Rosina Lhevinne student at a Berkeley bus stop.

The first On Air stop-off was Seymour Bernstein’s riveting hour-and-44 minute long interview that covered his Korean war service: a rekindled journey of interspersed infantry training, piano recitals and chamber music.

Seymour’s recorded account is part of an Oral History project that’s been conceived to educate and enlighten Korean youth about a faint and distant war era. In this regard, Bernstein describes a particular outdoor concert that he and violinist, Kenneth Gordon had presented together in the heat of war where bullets were flying overhead while two musicians were thinly protected by a hill that barricaded them in.

Bernstein’s nostalgic, drama-filled memoir pours forth effortlessly in his conversation with a historian tied to the Korean War Legacy Foundation. The focus is Seymour’s four separate touchdowns that included three post-war visits, eliciting his recall of turbulent political changes in the small Asian country. Naturally, he peppers his reminiscences with colorful musical anecdotes.

Most of the pianist’s followers celebrate his time-honored book With Your Own Two Hands along with his Big Screen appearance in Ethan Hawke’s documentary, Seymour: An Introduction. In the 90 or so minute film, a piano teacher is lifted out of the ordinary cycle of giving lessons, to iconic status. Playing himself, Bernstein, a once promising concert performer, retreats to mentoring in the face of crippling performance anxiety and resurrects himself as a doting, thoughtful teacher in a singularly carved journey.

Throughout his Korean Legacy Foundation appearance, Bernstein is on location in his thoughts, revisiting a war-torn Korea, determined to include a tender scene from his early days in uniform. As he tells it, a fawn appears in the fog on the countryside, making Seymour believe that he has died and gone to heaven. The flashback, also a moving segment in Hawke’s documentary, is worth a revisit with additional memories colorfully packed into the recorded Legacy interview.

http://www.kwvdm.org/detail_oral.php?no=751

***

On the You Tube Playlist, I was fortunate to have spotted two hot releases by pianist, Irina Morozova:

The following performances are beyond words to describe and speak audibly for themselves. I must admit, in all honesty, that the more I’m exposed to Morozova’s artistry, the more my heart aches that this pianist’s name is not a household word. The sheer poetry of her expression coupled with an effortlessly fluid technique, should invite the adulation of local and international audiences, if only the commercial packaging of musicians, and the social/political demands of making a career did not intercede.

Finally, to cap off my week, OFFLINE, I found myself waiting for the 25A A.C. Transit bus on an overcast weekday afternoon, anticipating an easy, uneventful route to gym. Little did I foresee an encounter with a perfect stranger, a petite senior, who had a pervasive connection to the music world–one that had its alliance to my own life as it unfolded during my New York City teenage years.

The woman had arrived ten minutes after me, thinking she might have missed the bus, but was reassured by my careful scrutiny of the bus schedule that we were both “on time.” I had added that we were clear to board within minutes, if the bus had not experienced delays.

Meanwhile, I kept checking 511# on my cell phone for updates once I realized that we’d passed the posted arrival time. And it occurred to me that delay after delay was the rule of the day, without any certainty of our common means of transport.

As it happened, we were given ample room to start up a conversation that was sparked by the woman’s allusion to an upcoming “Symphony” outing. That was my immediate cue to introduce myself as a “pianist,” which was her CUE to respond, “I’m a pianist, too!”

At this point in our alternate exchanges, I had acquired my rightful turn to squeeze out a stream of details from her past which she was amenable to share.

“I studied with Madame Lhevinne at the Juilliard School,” she announced, proudly. “It was in the mid 1950’s, but I never really graduated. Well, because I didn’t like the whole environment, and then I decided to go to Europe and earn my Ph.D.”

She admitted that she had never completed her studies, coining herself, an “almost there” individual, exposing her whimsical side–the extemporaneous, coy, and self-deprecating dimension of an emerging, delightful persona.

At this juncture, I wasn’t sure if she was going to veer off from our music-centered talk or re-focus on her studies with Lhevinne. I gently nudged her back to her Juilliard days.

In the ensuing conversation, I learned that Rosina’s crop of students were part of a tight-knit musical family and one particular pupil was my would-be bus companion’s favorite: “John Browning.” She insisted he was far more gifted than Van Cliburn. In rebuttal, I maintained that Van’s Tchaikovsky’s Bb minor Concerto, No. 1, was lyrical, straightforward and without eccentricity. She insisted that Gilels had held the crucial key to Cliburn’s thawed out Cold War victory. (He’d supposedly threatened to resign from the panel of judges if Van was demoted to Silver or Bronze)

I interjected that Nikita Kruschev was the deal-maker, having to rubber stamp the Gold pick! (it was notwithstanding his shoe-banging escapades at the UN)

Obviously, I wanted to milk my newfound musical traveler for any juicy gossip that surrounded Lhevinne, in particular, although I’d viewed one or two lengthy documentaries (on You Tube) that were better than any tell all gossip column. And as it turned out, the only uniquely colorful anecdote that gushed out of my awaiting bus partner’s mouth, was one about Lhevinne interrupting a lesson to talk in Russian by phone with the famed, and often dreaded piano teacher, Isabelle Vengerova. This well-known mentor had been characterized as a tyrant in Seymour Bernstein’s tome, Monsters and Angels, Surviving a Career in Music.

bigger-monsters-and-angels

(Yet, I dared not bring up, Seymour’s inclusion of the Russian icon in his list of “monsters,” aka emotional abusers.)

***
While the bus lingered somewhere OFF ROUTE, I had more space to impart my own Lhevinne-related memoir that rapidly shrank degrees of separation between two common bus riders.

As I recounted:

I had been present at Madame Lhevinne’s 80th Birthday celebration at the very Juilliard School that my newfound companion, who finally identified herself as “Francesca,” had attended. This was at a time when the homespun-looking building was located in the heart of Harlem on 125th Street. As a teenager enrolled at the High School of Performing Arts, I was bestowed a complimentary ticket to the event by my beloved mentor, Lillian Freundlich. The birthday fete featured soloist and honoree, Rosina Lhevinne playing Mozart’s Piano Concerto No. 21 in C, K. 467, under the able baton of Jean Morel.

While I didn’t have the yellowed PROGRAM tucked into my backpack as hard core evidence of my attendance, I did assure Francesca that it existed, and that it had been embedded in my blog posting about my having “been there,” right smack in the center of an adoring audience.

R. Lhevinne program

https://arioso7.wordpress.com/2011/12/07/an-ageless-pianist-and-her-historic-concert-i-was-there/

My story became expanded during our repartee when I described finding myself years later in the Oberlin Conservatory music library, listening with earphones to a turntable spun vinyl of Lhevinne’s very performance that day at Juilliard.

What memories were rekindled, stored safely in my repository of special musical moments, now shared with a common traveler.

Because the bus ended up being delayed by over an hour due to the driver’s apologetic admission of being lost in another city on HER FIRST DAY OF SERVICE, I had been serendipitously connected to a kindred “pianist” who tore off a snatch of her paper shopping bag with her scribbled name and phone number on it. She handed it to me as she disembarked.

“As fate would have it”… I uttered these words right after Francesca’s departure.

However faint they were, they carried over to the driver who glanced with a smile at the empty seat beside me. Without a shred of doubt, she had put two and two together.

blogmetrics, blogmetrics.org, piano, piano blog, piano blogging, piano lessons, piano pedagogy, piano teachers, piano teaching, piano teaching by skype, piano teaching piano instruction, piano technique

The “upper arm roll” and undulating wrist in piano playing

Many piano teachers call the same physical approach to various passages by a different name. I find myself in harmony with author, teacher, composer, Seymour Bernstein when he demonstrates the “upper arm roll” in Part 4 of his recorded series, “You and the Piano.”

As it plays out in one my teaching videos, I similarly refer to an “arm roll” that has a continuum of funneled energy through undulating wrists.

Screen Shot 2016-03-05 at 12.54.43 PM

I also emphasize that the fingers have to be draped in a relaxed way, so as not to impede the smooth flow of energy down the arms into wrists, hands and finally into the fingers. This energy delivery should be without tension-related interruptions at any juncture.

In addition, I advocate the use of “rhythms” to activate these bigger energies where they apply. For instance in the Coda section of J.S. Bach Invention 13 in A minor, (end of measure 22 through m. 25), many students get “locked up,” as a stream of Subject fragments pile up at close intervals. Often these notes within such sub-sets flow out of Dominant harmonies and land with ACCENTS instead of tapering according to harmonic rhythm.

To avoid such unmusical emphases, I suggest grouping notes in rhythmic segments with a natural arm roll into flexible wrists.

In the attached video, at the juncture where the A minor Invention spills into a climactic convergence of voices between the hands, commencing at measure 19, and continuing through an intensified spill (Treble 16th notes, against bass 8th notes) I further recommend a “rolling” or “wavy” contouring in groups of 8.

Bach A minor Invention p. 3

Finally, in reference to the uninterrupted flow of energy funneled down the arms, I urge students to preserve a mental image of “hanging arms, hands, and fingers.” By standing upright and then bending over in a relaxed way, they can simulate this “feeling.”

Even while seated at the piano bench, this same sense of “hanging” in relaxed abandon can be imagined and put to good use in piano playing, along with the related mental image of Puppet String Arms.

***

documentary, Eberfest, Ethan Hawke, film, piano, Roger Ebert, Seymour Bernstein, Seymour: An Introduction

Happy Birthday, Seymour Bernstein!

I just sent the following message back East!

“Seymour, May this be the best year ever with continued celebration of your wondrous achievements as a pianist, teacher, composer, author, philosopher, and global musical ambassador.”

While gratitude is expressed far and wide for what Seymour Bernstein has advanced in the musical and interpersonal communication universe, he is the first to be humbled by the adulation he has received for his big screen presence in Seymour: An Introduction.

In this spirit, Seymour gave me permission to copy a set of e-mails that sprang from his recent appearance at the Eberfest that honors Roger Ebert and showcases selected films of unusual artistic merit.

ABOUT EBERTFEST
http://www.ebertfest.com/index.html

Founded in 1999 by the late Roger Ebert, University of Illinois Journalism graduate and Pulitzer Prize-winning film critic, Roger Ebert’s Film Festival (Ebertfest) celebrates films that haven’t received the recognition they deserved during their original runs. The festival gives these films and their filmmakers a well-deserved second look.

Ebertfest takes place in Urbana-Champaign each April. Chaz Ebert, Roger’s beloved wife, business partner and fellow film-lover, is the festival host.

While Roger passed away in April 2013, his influence on the Festival continues. True to Roger’s vision, the twelve films screened during the five day event represent a cross-section of important cinematic works overlooked by audiences, critics and/or distributors. Some films come from lists of possible films that Roger drew up over the first 15 years of the festival. Chaz Ebert and Festival Director Nate Kohn select additional films based on Roger’s established criteria for an Ebertfest film. Both Chaz and Nate worked closely with Roger for fifteen years on programming the festival.

The Festival brings together the films’ producers, writers, actors and directors to help showcase their work. A filmmaker or scholar introduces the films, and screenings are followed by an in depth on-stage Q&A discussion among filmmakers, critics and the audience.

Ebertfest is a special event of the College of Media at the University of Illinois, and the festival, in conjunction with the College, hosts a number of on-campus academic panel discussions each year that feature filmmaker guests, scholars and students.

All the festival films screen in the 1,500-seat Virginia Theatre, a restored 1920s movie palace with state-of-the-art 35/70mm and digital projection. A portion of the Festival’s income goes toward on-going renovations at the theatre.

***

From Seymour:

“See below a note from Chaz Ebert, widow of Roger Ebert the world-famous film critic. After the death of her husband, Chaz created what is now considered to be one of the world’s major film festivals. The projection technician, James Bond (what a name) has to be a genius. I was simply in awe of the visual and aural aspects of the film in that magnificent auditorium. I told Chaz that I could not get over the sound of the piano. She took me into her arms where I sobbed for minutes on end. She was crying, too.

“Andrew Harvey was there, and so was Bill who came with me. As we entered the stage for the Q and A session, the entire audience of 1,500 rose in one gesture and roared their approval for a full 2 minutes. Two of the world’s most distinguished film critics were the moderators. After the Q and A, they rolled out a Steinway and I gave a masterclass right there and then to two fabulous students from the University. All told, this was the most rewarding screening I have attended.

“Open the attachment and see the photo of Chaz and me. I believe it tells all.”
Seymour

Chaz Ebert and Seymour

From: Chaz Ebert
To: Seymour Bernstein
Subject: Re: Deep gratitude

My Dear Seymour:

Having you close Ebertfest with your film and Masterclass and the music from the students brought together the whole week for me with grace and beauty. You were absolutely divine and I knew you would be from the first moment we spoke on the phone. Also, Andrew told me to prepare for the absolute beauty you would bring and he was right.

You did my heart good when you said you had never heard it like that before. One of the things we pride ourselves on at the festival is showing movies in a way that the filmmakers don’t get to see them these days of the multiplex theaters. We have this restored movie palace and hired James Bond to help us because he is the best! We all have a deep respect for the films and for the guests who come to the Festival. Thank you.

I want to make sure we get the Golden Thumb to you. Please send me your address so that we can get it out to you right away.

And please thank Bill for me. He was so kind. I would love to hear his music! And I hope he had a first class ticket too! Please let me know.

Big Hugs,
Chaz

From: Seymour Bernstein
To: Chaz Ebert
Subject: Deep gratitude

My dear Chaz,
Words cannot possibly express my emotional response to everything that occurred yesterday. I was so deeply touched by what you made possible for me, plus James Bond’s genius engineering that resulted in my seeing/hearing the documentary in a way I had never before experienced, simply cracked me up. The rest was as you remember: I sobbed in your arms. The audience response, receiving the “thumb” award, the Q and A session, and the master class were all highlights in my life.
And you are at the center of it all. Darling Chaz, my deepest thanks for everything.
Much love and admiration.
Seymour

***

Finally, how Chaz described Seymour: An Introduction in her blog prologue to its Festival inclusion:

Seymour at the piano

“The other documentary is the very charming “Seymour: An Introduction,” directed by Ethan Hawke. It introduces us to Seymour Bernstein, a classically trained pianist who struggled with how to honor his art when it conflicted with the anxiety in his life. It raises questions about the role and responsibility of the artist to himself, to the audience, and to his fellow travelers. Ethan started the project because he questioned whether his life and art had the authenticity he desired. He did a wonderful job coaxing the philosophy out of Seymour as Seymour demonstrated his gift for coaxing the best performances out of his students. Seymour Bernstein will be with us in person conducting a masterclass. Even in the movie, his music transported me. Rumi Scholar Andrew Harvey put Hawke and Bernstein together, and I am hoping he will join Seymour on stage after this beautiful closing film.”

LINK:

https://arioso7.wordpress.com/2015/03/30/love-the-second-time-around-seymour-an-introduction/

Bach Prelude in C from Well-Tempered Clavier, J.S. Bach, Journal of a Piano Teacher from New York to California, pianist, piano, piano blog, piano instruction, piano pedagogy, Shirley Kirsten, Shirley Smith Kirsten, Well-Tempered Clavier

J.S. Bach Prelude No. 1 in C, Voicing and Harmonic Rhythm (my ideas and Seymour Bernstein’s)

J.S. Bach

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 Comparone and pianist, Seymour Bernstein (with whom I conversed about the Bach Prelude in C, BWV 846–WTC Book One) with my own, coming forward with a “voiced” harmonic/musical portrait.

***

Flashback: October, 2012

My visit with Seymour Bernstein at his Manhattan apartment and our interchange about Bach’s ethereal Prelude No. 1 (Well-Tempered Clavier)

LINK:
Love the Second Time Around
https://arioso7.wordpress.com/2015/03/30/love-the-second-time-around-seymour-an-introduction/