Piano masterclass with Leif Ove Andsnes and student Ilana Lode
ฝัง
- เผยแพร่เมื่อ 28 ก.ย. 2024
- Recording from the Riga Jurmala Academy's piano masterclass with Leif Ove Andsnes and student Ilana Lode, Estonian Academy of Music and Theatre (prof.I.Ilja class).
Repertoire:
F. Chopin - Ballade No.4 in F minor, Op.52
More information: www.riga-jurmala.com
The Riga Jurmala Academy has been organised in collaboration with the Jāzeps Vītols Latvian Academy of Music.
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Ilana studied with professor Jānis Maļeckis at Jāzeps Vītols Latvian Academy of Music. She continued her postgraduate studies at the Estonian Academy of Music and Theatre under professor Ivari Ilja specializing in piano solo and after in piano accompaniment with professor Helin Kapten. Currently Ilana is working on research focused on Unsuk Chin’s Piano concerto music complexities and piano reduction writing in the Artistic branch of a PhD program in Estonian Academy of Music and Theatre.
She took part in national and international competitions in France, Estonia, Lithuania and Latvia. She has appeared with Sinfonia Concertante orchestra led by Andris Vecumnieks, DD orchestra led by Jānis Liepiņš and the Symphony Orchestra of the Estonian Academy of Music and Theatre led by Olari Elts. She has participated in masterclasses with Andrejs Osokins, Diana Ketler, Alexander Kobrin and many other distinguished artists.
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WWW.RIGA-JURMALA.COM
It’s amazing in today’s world that there are still teachers who don’t emphasize the richness of Chopin’s inner voices and harmonies, that there are still schools of teaching that only emphasize melody. I’ve always thought if one can’t play Bach Figues, Chopin will never sound right.
I think all music has inner voices that no one has ever heard.
Surprised he called it the greatest sonata after Beethoven & Schubert. Thought it was showy.
Very, very interesting to see these masterclasses.
LOA is a very good teacher that knows the music, and knows how to communicate it all in a positive way.
Thanks for sharing this masterclass!
She should study some harmony and counterpoint. The teacher is very good and patient.
Andsnes has always been the thinking man's virtuoso ! Deep inside I know she disagrees with some things he is saying . It is completely different music to him . He blows it up so that subvoices take on proportions . I don't get him at all . The anxiety in the harmony is right-on. All the Ballades really take a lot of life and thinking !
Simply something that cannot be “taught” - instinct. Frustating. The una corda should be stricken from the piano. It simply muffles the sound and too many pianists who lack listening use it. A pianist should be able to play a pianissimio that can he heard in any corner of a concert hall. Too few can. It is an offensive sound on any piano.
If she would only listen. She tend s to interrupt commentary by playing through it. No matter. She will not retain any of this.
It seems as if she is bothered by him teaching her ...she clenches her jaw and has facial expressions of a angry child at times. A bit more humility would do her well...though she just may be frustrated with herself
She has the potential to play this piece really well but is either afraid of Chopin or Leif or both. Leif gave her foundational musical values here that she didn't have before this moment.
Quelle belle leçon !! Quelle belle entente entre l'élève, qui comprend tout ce qu'il lui dit, et le maître, qui la respecte, qui a conscience de son trac, de ses difficultés. Elle s'en sort admirablement bien, elle se détend au fil de la leçon, et lui sait la mettre en confiance. C'est émouvant et très beau. Deux belles personnes !
My gradations in music-
The first level is correctly played notes (not yet music)
The second level is empty music caressing the ears.
The third level is music that carries an energy charge for any listener
The fourth level is music that has such a strong energy that it can heal the sick!
The first two levels can be taught, the last two are God's gift.
Either it exists or it doesn’t. Of course, it also needs to be developed constantly. But if God cheated, it won’t be possible to learn.
Amazing, you can really hear the difference!
I've gained so much respect for musical interpretation from this video. This masterclass illustrates just how many variables a pianist is juggling. Beyond the instructions on the page, a pianist decides which notes to emphasize--out of any ten at a given time! They are like a movie director, focused on delivering a story within a story so that the audience can rest its attention where it's most rewarding.
Terrible playing. Rushing forward all the time without recognizing and enjoying the tension that's building up.
Wie heißt das Stück ❓will das mal versuchen anhören und Spielen 😆👍🏼
Chopin Ballade n. 4 ! One of the most difficult piece for piano !!
@@gerardpaire304 Certainly the most difficult of the ballades.
Even though you are Leif Ove Andsnes, even though you are an angel in the flesh, it is impossible to teach Chopin to play, just as it is impossible to teach childbirth - you have to go through it yourself!
And every pianist must give birth to his Chopin. But not everyone is given - this is a given that must be reconciled with. And sometimes, instead of Frederic, it turns out just porridge.
And to correct this is a Sisyphean labor. Absolutely useless. Only by himself, only one on one with himself. Music should be born as a result of titanic inner work. Chopin is the air we breathe.
It should come naturally, be born in the soul-heart of the musician and go out. This is an expression of the nature of the performer, if you are empty inside, like a rattle, and your music is just as empty.
Frederick's music is not born from the touch of the fingertips to the piano keys according to the written musical text. It is a reflection of the inner world, energy and personal experiences of the performer.
Yes, true. People with life experience and strong feelings produce music that is ideally performed by people with life experience and strong feelings.
Your religious thoughts about FC is yours , but not mine. Teaching & learning & masterclass is always right. Its a speachless human quality to learn from somebody with deeper experience. Anybody can learn from LOA
I agree with this comment; Shura Cherkassky was asked in an interview if he did any teaching, and he said with amazing candor: No; it would do more harm than good: I can't explain to somebody else what I am doing, a lot of the time I myself don't even understand what I'm doing." I have a sense (and this may be self-serving in the most obvious of "rationalizing" ways) that good Chopin playing is impossible, to some extent, unless one is prepared to play Chopin badly. It doesn't come from aiming for the bull's eye of the perfect performance, but following a path of musical experience and discovery with the outcome being inherently unknown to an extent. The deeper you get into the journey, certain paths and choices will just "click," but only after going down some less fruitful - yet still necessary - paths along the way. So when a teacher suggests the result you should be going for, it will make little sense unless your journey took you there.
Still, I think there is more humility in these masterclasses than this type of critique implies; Mr. Andsnes definitely knows about the limitations and difficulties involved (much more than my haphazard groping around the issues), but he gives the student something to think about and experiment with, hopefully not to be taken too dogmatically except in cases of obviously and objectively correct versus incorrect.
One point I've been working on is the connection of phrases, specifically a "breathing" effect of slightly, very minutely altering durations before and after the last note of a phrase (usually lengthening the former, shortening the latter), so each phrase flows into the next, creating a wave-like sense of forward propulsion. This pattern (shortening the space after, lengthening the duration after, the last note) seems like the default best approach in most cases, but this is subject to variation and exceptions. It used to be that (before I made these rhythmic adjustments) no matter how hard I practiced, it seemed worlds apart from the effects I heard in Rubinstein (my touchstone) and Horowitz (leaving Arrau and many others aside; I admit I can't stand Argerich, however poorly this may reflect on me, and I don't even like Horowitz especially but find him instructive for unearthing possibilities I'd otherwise not imagine). And, most importantly, the same principle that applies in phrases I apply on the micro level in all successions of notes. It seems like right-or-wrong, I have to do it. But at the same time, almost invariably, I take these too far and cut the adjustments to near-inaudibility, so it comes back in the direction of taking note values very literally. But ultimately striving for a kind of "breathing" quality.