You began the nocturne playing the left hand in triplets and it was only at the end of the excerpt did it begin to resemble 6/8. Such rhythm and time signature problems were present in all your demonstrations. If you address this you will be doing yourself a great service.
Like you I play the period fortepiano and the modern piano as well. So I know the difficulties by switching between these two instruments. Your instructions are very effective for players of the modern piano. My compliments!
Gerard van Reenen Yes, It would have been lovely to have this lesson on a period instrument, as modern pianists probably won't bother to change their technique, and if you want to be more of a 'purist' probably you will use a pianoforte. I can't match the idea of researching on period performance and using it on a modern instrument. But please keep researching and sharing your findings. This is a wonderful resource by her: www.musicandpractice.org/volume-4/viennese-piano-technique-of-the-1820s-and-implications-for-todays-pianists/
Thank you for your video. I enjoyed listening to the delicate, sensitive controlled sound especially when you demonstrated Chopin's pieces. Music seems to flow more horizontally than up and down. I am looking forward to more performances from you.
Hello, I came across this video and I must say it helped a lot with the lighter touch as compared to what I have been thought about the Russian (Leschetizky) way of playing. I do have a problem with posture and I am having a hard time to transfer the weight on to the piano keys, i do not know if my posture is bad or are there any bad habits I am doing but I do not feel the "lightness" of the arm as others would say. I wish you could discuss the weight transfer even the finger stroke in your future videos :)) Thank youuu
I have for decades recommended that pianos be mounted on supports mechanically adjustable for height (with pedals adjustable), because a) they are too low for most players, and even discourage growing kids from continuing, besides b) that various pieces/movements benefit from various heights of attack (e g, Glenn Gould low, Count Basie high)---there are doctors who specialize in the posture problems of pianists.
Of course, phrasing is integral in mind of composer re hand movement---and audience imagines moving, climbing, flying,swimming etc. The immortality of the composer can be defended by experts with authentic type instruments, but to be immortal one should survive in modern instruments, and with new insight by performers, and deep awareness in audiences. I decades ago urged placing piano on support controlled by device for raising and lowering, appropriately for performance, affecting attack, high, or low (Gould), chosen suitable for each section etc. And many students of various ages and tallness left piano due to posture problem due to stupidity of humans failing to adjust height to player (of course pedals would be dealt with). In e g Rachmaninoff, 20th century, we now have the great Ekaterina Mechetina, whose powerful insightful attack brings the music to life. I mention the approach of Huss, as digging into the piano key at various depths, more claw-like than flat-hand, (suggested to me by teacher in 1950s). I am delighted that you have posted on youtube your analysis! We need more like it. note youtube chopin ballade 1 played by Bolet---physically huge man...IMO, best pianist of 20th Century.
Piano stools are adjustable. And if a piano stool on its lowest setting is still too high, one can saw a few centimetres off the legs. Your comment leaves the impression you are not aware of this. I know this is impossible, so it results in what you are saying making no sense really at all. Glenn Gould's father made him the chair he used with the height he needed. The idea of abandoning piano (due to posture problems) because the height of the piano can't be adjusted is ludicrous. If that were true, Glenn Gould would have abandoned the piano instead of customizing his own chair. It is like a light bulb blowing, and instead of changing the light bulb, you move the entire contents of the room into another room with a working light bulb.
You began the nocturne playing the left hand in triplets and it was only at the end of the excerpt did it begin to resemble 6/8. Such rhythm and time signature problems were present in all your demonstrations. If you address this you will be doing yourself a great service.
Like you I play the period fortepiano and the modern piano as well. So I know the difficulties by switching between these two instruments. Your instructions are very effective for players of the modern piano. My compliments!
Gerard van Reenen Yes, It would have been lovely to have this lesson on a period instrument, as modern pianists probably won't bother to change their technique, and if you want to be more of a 'purist' probably you will use a pianoforte. I can't match the idea of researching on period performance and using it on a modern instrument. But please keep researching and sharing your findings. This is a wonderful resource by her: www.musicandpractice.org/volume-4/viennese-piano-technique-of-the-1820s-and-implications-for-todays-pianists/
Thanks for your nice feed-back! I have another instructional video on period piano as well th-cam.com/video/INh84SP6DiA/w-d-xo.html
Bravo! Such an excellent job! Clever and interesting approach.
Thanks so much, I appreciate your comment!
Very interesting concepts! Thanks for making this video :)
Thank you for your video. I enjoyed listening to the delicate, sensitive controlled sound especially when you demonstrated Chopin's pieces. Music seems to flow more horizontally than up and down. I am looking forward to more performances from you.
Excellent ! Your sound speaks for itself. My respect and admiration!
Thank you so much! I appreciate your response!
Wonderful video thanks!
very insightful
Hello, I came across this video and I must say it helped a lot with the lighter touch as compared to what I have been thought about the Russian (Leschetizky) way of playing. I do have a problem with posture and I am having a hard time to transfer the weight on to the piano keys, i do not know if my posture is bad or are there any bad habits I am doing but I do not feel the "lightness" of the arm as others would say. I wish you could discuss the weight transfer even the finger stroke in your future videos :)) Thank youuu
Beautiful! Both piano and player
Thank you!
Beautiful ,,,
Your thoughts on determining the most comfortable seat height and do you incorporate principles of the Taubman approach?
I have for decades recommended that pianos be mounted on supports mechanically adjustable for height (with pedals adjustable), because a) they are too low for most players, and even discourage growing kids from continuing, besides b) that various pieces/movements benefit from various heights of attack (e g, Glenn Gould low, Count Basie high)---there are doctors who specialize in the posture problems of pianists.
Of course, phrasing is integral in mind of composer re hand movement---and audience imagines moving, climbing, flying,swimming etc. The immortality of the composer can be defended by experts with authentic type instruments, but to be immortal one should survive in modern instruments, and with new insight by performers, and deep awareness in audiences.
I decades ago urged placing piano on support controlled by device for raising and lowering, appropriately for performance, affecting attack, high, or low (Gould), chosen suitable for each section etc. And many students of various ages and tallness left piano due to posture problem due to stupidity of humans failing to adjust height to player (of course pedals would be dealt with). In e g Rachmaninoff, 20th century, we now have the great Ekaterina Mechetina, whose powerful insightful attack brings the music to life. I mention the approach of Huss, as digging into the piano key at various depths, more claw-like than flat-hand, (suggested to me by teacher in 1950s).
I am delighted that you have posted on youtube your analysis! We need more like it.
note youtube chopin ballade 1 played by Bolet---physically huge man...IMO, best pianist of 20th Century.
Thanks for your comment!
Piano stools are adjustable. And if a piano stool on its lowest setting is still too high, one can saw a few centimetres off the legs. Your comment leaves the impression you are not aware of this. I know this is impossible, so it results in what you are saying making no sense really at all. Glenn Gould's father made him the chair he used with the height he needed. The idea of abandoning piano (due to posture problems) because the height of the piano can't be adjusted is ludicrous. If that were true, Glenn Gould would have abandoned the piano instead of customizing his own chair. It is like a light bulb blowing, and instead of changing the light bulb, you move the entire contents of the room into another room with a working light bulb.
geezus Kryst, gurl! O_O