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… Continue reading Playing Mozart: Phrasing and Nuance
It's easy to be dismissive of the Classical era Minuet form, though in the hands of a wunderkind like Mozart, a set of these 3/4 meter Binary dances springs to life with a myriad of embedded learning and performance challenges. For example, the Minuet in F Major, K. 2 composed by Mozart at age 6,… Continue reading W.A. Mozart Minuets: Valuable Journeys of Discovery
I thought it would never happen! An instant banishment from cyber-space! Mozart's beloved Andante from Sonata K. 283 was the victim of pure and simple tyranny by the you tube police! The stand-in argonaut imperialist Hyperion, a recording company whose reach extended above and beyond PUBLIC DOMAIN, wrenched my upload from its earthly existence with… Continue reading Would Mozart believe he was “banned” worldwide?!
The learning exchange between student and teacher is heightened when a new piece is introduced. In the case of Mozart's charming, early period Sonata no. 5 in G, it became a revisit for me that brought new revelations that I shared during the course of weekly lessons. *** Mozart presents a challenge in capturing a… Continue reading Exploring Mozart Sonata No. 5 in G, K. 283 (First movement, Allegro)
Just when I thought my wellspring of blog inspired ideas had endured a drought, I had a nagging thirst to explore how technical tools (playing scales, arpeggios, chords, octaves, etc) are woven into music study. Allied to this undertaking, was the idea of inferences and how we make certain decisions about phrasing, articulation, etc. based… Continue reading Applying technical skills to sensitive music learning, and reading between the lines
https://youtu.be/paGtKTD4RfA I think Maestro Berman said it well, yet from my own experience, over-practicing is less a problem than failing to listen attentively through every phase of learning a composition. If a student does not fine tune each repetition, but considers only right notes in fast speed as the desired end, then phrasing, nuance and… Continue reading Boris Berman: How to connect with the music after over-practicing
Joyce Di Donato, "lyric-coloratura mezzo-soprano," is my model for trilling. In an embedded you tube video, the opera singer emphasizes the undulating character of a beautifully executed trill that leans on the upper note. (Too often pianists deliver a robotic stream of alternating notes that's shapeless and out of breath, ignoring an internal flow and… Continue reading Piano Technique: Trills and the vocal model