@InbarRothschildPianist Made it through the Sinfonia in the past few weeks. My tempo is slower, still trying to make my both hands working together for better voicing. Will comeback often to update my progress! Thanks again for your tutorial and detailed notes!
Thank you! There are a couple more already, actually: th-cam.com/video/PorFJ20eD_s/w-d-xo.html th-cam.com/video/3xlxe7IHMos/w-d-xo.html and also a few translated interpretation classes by my late teacher, pianist Pnina Salzman (Beethoven - Waldestein, Debussy - Images and the second partita as well)... I will try to upload more videos in the future:)
I really appreciate the amount of time you have put into compiling all the information and making videos like this with vast information. I wonder if post this video on Bilibili, or better yet if you can sign up a Bilibili account and post your videos yourself.
Thank you, but I do not claim to understand Bach here, it is more a search for the meaning in his works through our own understanding of music as an expressive language, the meaning of the musical speech.
Wonderful playing! While I do not always agree with the description of character of certain phrases, this format is extremely interesting and inspires me to map out my intuitions about the pieces I play much more detailed. Thank you for this! I wonder, how do you treat this 'roadmap' of interpretation when playing? how does spontaneity fit in the picture? Are these the 'foundations' of your interpretation or do you see them as hints or sources for inspiration when you play?
Thank you for your thoughtful comment. The comments that I "mapped" here were my late teacher's, pianist Pnina Salzman, of whom I am currently writing a PhD at the Royal Academy of Music in London. I was happy to read that it inspired you to do the same, as this was the idea behind the tradition I was raised upon (following the teaching of the great Alfred Cortot, my teacher's teacher): Capturing the meaning behind the notes and expressing its spirit through the music's speech. You can also view the first case study I made on Chopin's fourth Ballade (featuring comments by both Salzman and Cortot, as well as some of my own analysis, as all of their ideas related to the actual musical text, beyond their unique intuition): th-cam.com/video/PorFJ20eD_s/w-d-xo.html I hope to publish another one on Beethoven's Appassionata in the next few days as well. (These videos are all, of course, only a humble essence of the musical thought and teaching I was able to present on this platform).
I see a few discussions of what is "correct" in Bach's terms, but I feel there's no way to approach the comporser's interpretation while talking about irrelevant matters to the baroque and the composer such as texture and dynamics. To me, that's been producing way more unappealing and inaccurate recordings.
You are entitled to your opinion, and I shall answer you using Wanda Landowska's (which, I hope you will appreciate, given what you wrote): "Probably I shall be criticized for playing Bach's fugues in a too picturesque manner. Should not this reproach be addressed to Bach himself? In each one of his fugues Bach depicts a scene or a mood that is obvious to me. I only execute his will […] Do I have to convince those who obstinately consider Bach's music as absolute and abstract speculations that even his most learned fugues can be poems? My efforts would be as futile as useless. Bach himself does it. Those who don't understand or feel it should refrain from listening to his music […] Could we imagine Bach, whose passionate and constructive character exalts love and life in all its form [...] composing only to show off his great knowledge of counterpoint?"
Thank you! I am learning this piece for someone I am madly in love with and also for myself. It will keep me accompanied for the rest of my life.
What a lovely gesture! Good luck, I have no doubt it will be special:)
@InbarRothschildPianist Made it through the Sinfonia in the past few weeks. My tempo is slower, still trying to make my both hands working together for better voicing. Will comeback often to update my progress! Thanks again for your tutorial and detailed notes!
@dad-to-be5321 Touching to hear:) Happiness and health to you and your beloved, may music and love always be present in your lives!
This "Interpretation coming to life" series is really wonderful! And your playing is so expressive. Thanks enormously for doing these.
Thank you for your kind words❤
Beautiful playing, nice interpretation. Looking forward to more such videos.
Thank you!
There are a couple more already, actually:
th-cam.com/video/PorFJ20eD_s/w-d-xo.html
th-cam.com/video/3xlxe7IHMos/w-d-xo.html
and also a few translated interpretation classes by my late teacher, pianist Pnina Salzman (Beethoven - Waldestein, Debussy - Images and the second partita as well)... I will try to upload more videos in the future:)
Wow, fearless playing, like a young Martha Argerich. Some of those passages are perilous at those tempi, but you articulate every note. Brava!
Thank you, that's a great honour!
I really appreciate the amount of time you have put into compiling all the information and making videos like this with vast information. I wonder if post this video on Bilibili, or better yet if you can sign up a Bilibili account and post your videos yourself.
Thank you:) I don't know Bilibili... I might try to check it out. but you are welcome to share it if you'd like:)
So this is the full “understanding” of Bach what snob’s talking about?I love it 😅
Thank you, but I do not claim to understand Bach here, it is more a search for the meaning in his works through our own understanding of music as an expressive language, the meaning of the musical speech.
@@InbarRothschildPianist don’t get me wrong , this is not about your interesting analysis of my fav Bachs Partita
Wonderful playing! While I do not always agree with the description of character of certain phrases, this format is extremely interesting and inspires me to map out my intuitions about the pieces I play much more detailed. Thank you for this! I wonder, how do you treat this 'roadmap' of interpretation when playing? how does spontaneity fit in the picture? Are these the 'foundations' of your interpretation or do you see them as hints or sources for inspiration when you play?
Thank you for your thoughtful comment.
The comments that I "mapped" here were my late teacher's, pianist Pnina Salzman, of whom I am currently writing a PhD at the Royal Academy of Music in London.
I was happy to read that it inspired you to do the same, as this was the idea behind the tradition I was raised upon (following the teaching of the great Alfred Cortot, my teacher's teacher): Capturing the meaning behind the notes and expressing its spirit through the music's speech.
You can also view the first case study I made on Chopin's fourth Ballade (featuring comments by both Salzman and Cortot, as well as some of my own analysis, as all of their ideas related to the actual musical text, beyond their unique intuition): th-cam.com/video/PorFJ20eD_s/w-d-xo.html
I hope to publish another one on Beethoven's Appassionata in the next few days as well.
(These videos are all, of course, only a humble essence of the musical thought and teaching I was able to present on this platform).
Estuve en un concierto de
Hello why change for Bb at the 21th. ? I know Gould do this too.
I think there are a couple of versions of this, and this is the one I had. I haven't explored this, specifically, further, I'm afraid.
I see a few discussions of what is "correct" in Bach's terms, but I feel there's no way to approach the comporser's interpretation while talking about irrelevant matters to the baroque and the composer such as texture and dynamics. To me, that's been producing way more unappealing and inaccurate recordings.
You are entitled to your opinion, and I shall answer you using Wanda Landowska's (which, I hope you will appreciate, given what you wrote): "Probably I shall be criticized for playing Bach's fugues in a too picturesque manner. Should not this reproach be addressed to Bach himself? In each one of his fugues Bach depicts a scene or a mood that is obvious to me. I only execute his will […] Do I have to convince those who obstinately consider Bach's music as absolute and abstract speculations that even his most learned fugues can be poems? My efforts would be as futile as useless. Bach himself does it. Those who don't understand or feel it should refrain from listening to his music […] Could we imagine Bach, whose passionate and constructive character exalts love and life in all its form [...] composing only to show off his great knowledge of counterpoint?"