Masterclass with Ivan Moravec - Liszt: Mephisto Waltz No. 1 (2011)
ฝัง
- เผยแพร่เมื่อ 26 ธ.ค. 2020
- Masterclass with Ivan Moravec
F. Liszt: Mephisto Waltz No. 1
John Hahn (Manhattan School of Music, New York)
July 2011
Břevnov Monastery in Prague
For more informations about Ivan Moravec, please visit website
www.ivanmoravec.com
![[TH] VCT Pacific - Playoffs Grand Final // PRX vs GEN](http://i.ytimg.com/vi/G345ud5yRGA/mqdefault.jpg)
When I played Appassionata for the first time, I listened to as many records as I could, but Mr. Moravec's performance moved
me the most.
Now,several decades have passed, I came across this video. I'm very happy.
If it were me, I would have told that student to stop.
Why did Mr. Muravec listen to the end and give advice?
Mr. Moravec wanted to convey the heart of music, even if it was just 1%.
I deeply admire that spirit, and the work of communicating can often be very difficult, but it's important.What has happened to the students since then?
Moravec is an excellent teacher with pure focus in the fine piano student.
Thanks for sharing this wonderful Masterclass with the great Master.
In the passage of the waltz featuring big chords in duplets against the 3/8, I am thinking Mephisto is stamping his feet in madness as he plays on the violin, and on the tirade flourish (notes C#-D-E-F) happening in the low range of the keyboard, Mephisto creates hellish flash-fire explosions to make the partygoers wonder what this macabre character will do next.....my two bits. This happens at least two times.
Marvelous
Here not only old collides with young, experience with practice, but here cultural circles collide strongly plus emotional feeling for the composers concerned and their biography! Hier prallt nicht nur alt auf jung, Erfahrung auf Praxis, sondern hier prallen die Kulturkreise stark aufeinander plus emotionaler Empfindung für die betreffenden Komponisten und deren Biographie!
Since I love the "Mephisto Waltz", and I know the basic concept of the devilish "Faust" legend from the Gounod's opera version (although it comes from Lenau's poetic version of the legend), I am thinking in my imagination that, after the "accordature" of the opening measures (that's Mephisto tuning his violin a few times), the fortissimo C-sharp minor chord for 7 measures later on (after a big crescendo beforehand) probably represent Mephistopheles not only playing "ff" with double stops on the violin, but also creating the magic of fire pillars increasing in number (because he is satanic in character) but only for a short time, to beckon party participants to join in the wedding party waltz-dance, especially as the main A major theme appears for the first time in the right hand.
Holy shit the second section was most natural to the opening student.
Who doesn't think this young pianist is playing the piece very much better after this schooling?
I was astounded that Maestro said that he could not demonstrate this piece because he didn't play it????!!!??? In other words, all of his suggestions come from scrutiny of the score as compared with how it had been played by the student.
I just can't understand how he could do this.
What a beautiful document!! Is there any more masterclasses recorded?
Hi, so sorry for late reply. There actually are several more that are about to be published in forthcoming months!
@@PragueMusicPerformance Such great news!! Very much looking forward!!
@@PragueMusicPerformanceThanks!!
Un Maître... je vous encourage à écouter sa version des immortelles Scenes d'enfants de Schumann, d'une rare et respectueuse sensibilité, humilité et intelligence
Why doesn't he play all the f#'s in the left hand in the beginning (EBF#, bar14+)? His hand look big enough for the stretch of a ninth.
I think he plays the F# an octave lower (E F# B). Maybe it's to reduce tension?
I love how every time they cut to Moravec he looks like this is the last thing he wants to be doing. 😂
To me, he just looks as if he is listening carefully.
He looks very patient and nice
Not a look of approval
I wonder why the student's teacher sends him to a Masterclass playing this Liszt piece, when he's missing the most basic musical and technical aspects of this work. He probably shouldn't be playing a Liszt piece of this difficulty at this stage of his development. Moravec is so incredibly patient with him!
Great for the master class, he hits all the notes but needs to plan for the build up, and climax of each section. Also needs some variation
a masterclass isn’t a performance, these are for while a piece is still in developing stages, and allow students to experience different perspectives on music
Whatttttt?????
You also partecipate to a masterclass to understand some particular details that you won't see alone when you're studying
Moravec says he “has all the equipment”. So what is the issue here? This is an example of a up and coming pianist who needs refinement.
There will almost no one on TH-cam who can play this piece as well as we see on this video!
I find the comment astonishing to be honest.
He is not musical at all……
-_-