Piano masterclass with Yefim Bronfman and student Sven-Sander Šestakov
ฝัง
- เผยแพร่เมื่อ 1 ต.ค. 2024
- Recording from the Riga Jurmala Academy's piano masterclass with Yefim Bronfman and student Sven-Sander Šestakov, Estonian Academy of Music and Theatre (prof.I.Ilja class).
Repertoire:
L. van Beethoven - Sonata in B flat major, Op.106 1st mvt Allegro
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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Sven-Sander Šestakov (1997) began his piano studies at five years old in Tartu I. music school, where he was taught by Anne-Lii Mändmets(2002-2011.) In 2011, he went to study at the Tartu Heino Eller music school, where he studied under Kadri leivategija until 2015 and from there on under Jaan Kapp.
He has successfully participated in both national and international competitions. He has won numerous prizes, including two Ist prizes and two IInd prizes from the Estonian national three schools piano competition in the years 2014-2017, IIIrd prize at the Stockholm international music competition in 2014 and IIIrd prize in the piano duo category at the 2015 XIII Padova international music competition. In 2016, he won IInd prize at the Estonian national young pianists’ competition. In 2019, he was the finalist in the IX Estonian pianists' competition, and was awarded a special prize, in form of a performance with the Estonian National Symphony Orchestra, with whom he has since performed twice. He has played under conductors such as Lilyan Kaiv, Kaspar Mänd, Andres Mustonen and Olari Elts. He is currently studying at the Estonian Academy of Music and Theatre under professor Ivari Ilja.
He has also been an active composer since 2015, having studied composition in Heino Eller Tartu music school under Katrin Aller, and briefly at the Estonian Academy of Music and Theatre under Rene Eespere. He was the finalist of the 2016 Estonian young composers' competition. He won the 2017 competition for young composers, "Lustlik klaver", with several of his pieces written for children.
Sven-Sander participated in the Estonian classical music TV show “Classical stars 2018”, where he was one of the semifinalists.
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WWW.RIGA-JURMALA.COM
I feel like Liszt mentoring his students would have been very much like this. Bravo to both Maestro Yefim, and student, Sven-Sander.
A great pianist emerging as a great teacher: clear, empathic, and with love for both pupil and composer. Thank you!
love this and what a beautiful sounding piano
Bronfman is a total Legend!
Well, I am concerned over the concept pupil and teacher instead of two pianists exchanging experiences and different interpretations!
Most masterclasses exaggerate the intellectual importance of performance! There are so many things affecting the musical results which these “master” teachers neglect. And the most important of these missings is to emphasize allowing the personal freedom which is the key to touching the listeners. Because music is spiritual message and can not be treated as a circus number or a replica in a show you repeat
every day.
If one gets to better know the style of a certain composer, it makes one able to take better interpretive decisions- in fact, one feels freer! Do not underestimate the guidance from an accomplished musician, please
Very good explanation about the beginning of the Sonata... bravo Bronfman! 👏👏👏
bs"d Wow! Although I can't really play at this time too much, I was so lucky to be taught by teachers who understood quite a bit in theory, dynamics, technique, and faithfulness to the composer's intentions, and I appreciate the emphasis on putting personality into every little bit of melody in either hand, and how important it is to bring out the counterpoint in the composition, and not regard the left hand as simply an accompaniment, and to this end was instructed to practice scales many more times over with the left hand because it tends to be weaker, and to interpret correctly it cannot afford to be weaker; the counterpoint is what makes the music interesting, so that it tells a story, like a conversation between the two hands - I am so grateful that both performers were willing to share this on line, because the initial performance was excellent, and I thought, what can possibly be wrong, that could be corrected, but Mr. Bronfman knows how to make it even better, and true to the original intent, and gives it over with definiteness, and humor, and yet gentleness, to share how somehow his concerts always wind up so good because every little trill or embellishment has character; nothing is standard, but everything is telling a story. It is courageous of the student to share what he is doing, and of Mr. Bronfman, his secrets re. how he can make the music come out unusually beautiful and interesting, and something to think about in life, too. It's never just 'accompaniment'; there is always a conversation. A classic well played can brighten the day of many people, and I am grateful that these performers are brightening many days.
This was one of the most insightful masterclasses I have taken part in - Mr. Bronfman is a goldmine of pianistic knowledge. I tried to apply his advice as best as I could in the masterclass - though it took me several more months to get comfortable with performing this movement with good rhythmic energy, without rushing, and bring out all the counterpoint amongst some other details. Of course this is always a work in progress.
@@sven-sandershestakov5201 bs"d listening to the initial performance I was not expecting him to find anything to improve upon... it's all 'fine tuning' on an already excellent performance, and it Does take time for changes to be internalized... my piano teacher, o.b.m., used to warn me about being too 'facile', catching on to an improvement too quickly but then forgetting about it later, or perhaps just ceasing to care about it, because the initial ease would make me think I did not have to work... so it Should take a while, because then you will have really thought about it, and it will become an improvement in your style, if you choose to implement it, and, whatever you fix on the spot in the master class is then not just a superficial attempt to fix it for the video, just to look good that one time. So anyone who makes such a derogatory comment like what I saw here above, does not understand what developing musicianship entails. A musician has to be prepared to play something well regardless of whether or not he/she is feeling okay, or in the mood, whenever a performance is scheduled, so style and interpretation have to be deeply ingrained in his/her way of operating once he/she is seated at the piano, even if it's during a time that is sad or difficult for personal reasons, and, if you had actually shown a delay in 'catching on', which I did not see at all, it would have been justified, because style is something that already has taken years for a musician to develop, and to immediately change the style' right after being told what could be improved is almost like a 'parrot' job, something that is easy when the teacher is right next to you because you just heard it a minute ago. That advice and the subsequent adaptations that the student who is too facile makes are likely to be forgotten later. To me, the hesitancy is a sign that you are really thinking about what he told you, not because you question it or fail to understand it, but because you are striving to comprehend it on a deeper level so that you can retain it when the class will be over and he will have flown away to his next series of concerts and other master-classes. The hesitancy that I saw was a sign of genuineness, of striving to understand and mark it deeply within, as you were not equipped with a pencil and paper to just write it down. It's a sign of sincerely desiring to learn and grow.
I fell in love with op.106 my 11th grade highschool.Have only ever seen one pianist play it in concert Yehudi Wosner an excellent musician ! Wonderful hearing Bronfman talk about this music !
These guys are so good. FFS.
Студент S SS играл очень хорошо c небольшими индивидуальным отклонениями ,которые делали Его интерпретацию очень Интересной. ЕФ. все Отнивелировал
cтуденту 1+++++
What the fuck has this dude to do in the Hammerklavier????😅😅😅
Dude doesn't get it! Felt like Bronfman wasted his time!
bs"d It looked like he understood and was beginning already to improve the passages discussed; it will take time.
Problem with mortellato and articulation in partamento and staccato , bc quarters and eights are different in meaning in Beethoven, pure pianism! I started music in Riga at Darzins school,but my teachers were students of Newhouse! Live all my life in it, thankfully 😅!
@@sven-sandershestakov5201 hey Sven, Im a random Pianist, can you spare a venmo, dont accept strangers asking for money in the future other than me
@@sven-sandershestakov5201 @jrpiano 35$ plz friend
That's harsh, not everybody will have the same response. Let the guy process - on the other hand Bronfman is being an excellent educator inviting the student to a dialogue, trying to understand his intentions. And last not least, this piece is an Everest which requires maturity well beyond most people's years.
피아노 피치가 너무 높다. 거의 반음을 올린것처럼…
레코딩때에 가끔 높이기도하지만…베토벤 피아노 소나타엔 이토록 높일 필요가없다. 베토벤이 이소나타를 듣는다면 기암하겠다…ㅠ.ㅠ