Five Minute Library: BORIS GILTBURG | PIANO TECHNIQUE
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- เผยแพร่เมื่อ 30 ม.ค. 2020
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Executive producer and concept · Lars Fenger
Directed by Stéphan Aubé
Image · Cécile Trelluyer
Edited by Sarah Levine
Sound production, engineering and mix · Mette Due, TimbreMusic
Camera and video assistant · Kale Jessen
Musical extracts:
Prokofiev Suggestion Diabolique Op. 4 No. 4
Rachmaninov, Concerto No. 2 Op. 18, 3rd movement
Rachmaninov, Concerto No. 3 Op. 30, 1st movement
Schumann, Carnaval Op. 9, Marche des Davidsbündler contre les Philistins
© Louisiana Museum of Modern Art - 2017
#borisgiltburg #education #louisianamuseum #piano - เพลง
He's really a genius!!
Wizard !
Fantastic!
What a great video - the same notes on the piano can sound totally, "timbristically" different!
Excellent adjective and thus adverb!
So good, Thanks very much,감사합니다.Gracias!
There are many, many different theories. I subscribe to the one that tells us: We play the piano with our brain and our body, not with our fingers; fingers are merely the soldiers. It seems to fit in with what Boris says about using one’s shoulders right down to the shoulder blades - this, of course, is what some pedagogues call “using our body.” Gives depth to the sound.
There is a higher order generalized brian centre controlling the fingers' presets, maybe?
Magnificent insight. How blind piano teaching has been up till now!
Great video!
🤔😍♥️♥️♥️♥️♥️👏
My piano teacher was hitting the hands and holding the wrist with an open ballpoint pen! I stopped to learn violin.
The lever analogy kinda works but is techincally incorrect, as there is not fixed pivot point. What he means is, that the further away from the fingertips, the larger and heavier the muscles, giving you the greater power that he was talking about
What's the piece at 1:00?
Rachmaninov concerto 2
Opus 18 Rachmaninov 3rd movement
oh come on there should be more!! please?? jk
Thank you for your comment. Some new episodes are coming soon. Stay tuned!
and by watching Teletubbies you can perform heart surgery
I don't want to sound rude but you talk about piano technique the way many pianists do. They have virtually no idea what they are talking about although the elements that you talk about are certainly very good ones so you do know what you're talkin about there, in a manner of speaking. But as far as actually giving a meaningful rich account of piano technique, that is like playing the well-tempered clavier and you have done to the equivalent of playing the first two-part invention. That is an analogy, of course. In music, especially performance, people say seemingly brutal things and they actually are not being brutal at all. It's simply has to do with the nature of what is discussed and so forth. I offer this frank comment because I think it was worthwhile to say this and I know that no one else basically thinks the way I do about these matters. I love your playing by the way and your technique and artistry are wonderful.
Ditto. With all due respect to Boris and other virtuosi, they haven’t the faintest clue how they do what they do. He says these two concepts are the foundation of piano technique. If that was true anyone could play Feux Follets immediately after watching this video.
@@leomiller2291 Indeed. It's obvious, for a start, that they use visualization; have eidetic memory and have an amazing ear which basically means that they can do as Mozart did in the Sistine Chapel with Allegri. I recommend following Boris, although he seems more youthful and vulnerable in his latest - always quite amazing - offerings. I wonder who gave him this lever insight and this idea of pushing or striking. At that point I thought he was going - Gouldianly - to play some Bach. The great hope is that if keen concepts were applied in a totally new fashion, even poor musicians like us (I guess) could make significant strides towards sharing at least a few grams of that celestial honey which Boris has in spades
I read what you said, and agree in a way. These principles/analogies are there and certainly are not all there is (taste, ear, memory, choice of fingering, balance, pedal, etc,,,). However, in some other respect, boiling to the basic elements seems as natural as to accept that an Olympic runner uses the same muscles and skeleton as any other human being…, which he/she does; in the same way, piano technique must come from “natural” principles that guarantee one uses the body in the most natural and efficient way. And then again, it is no guarantee one is going to play Feux Follets brilliantly. All the best. Beautiful sound and playing, Mr. Giltburg.
@@rodrigogb6022 The issue is that one might not have the slightest idea what is really involved, and the concepts for getting at that may be very strange and unusual. The usual things we talk about in "boiling down to basics" and what is "natural" are important, but there is an infinity of concepts and ideas that can get at what is involved. You can give the usual advice to someone who "has it", and they'll do well, while if someone doesn't "have it", they'll just struggle along. What the other things are, that's a whole path...
@@rravvia thanks for the reply. For sure it is different for one who has it, and one who does not ! Point received!
On the other end of things, would it not be great to keep searching for the “Holy Grail”, the equation that solves all, the principles that guarantee expressive sound and efficiency of motion ?
All the best !