How valuable interactions like this are for our musical culture, knowledge and performance! Thank you so much to the both of you, we need more videos like this. I can relate to so many instances that John Salmon was retelling and I agree with everything he said on historical interpretation and academic judgment thereof. Best thing we can do is to encourage as many piano players as possible to improvise and to connect it to their repertoire practice and perception, only good things can emerge from that.
@@NikhilHoganShow Thank you for doing what you do. A wealth of proper pedagogy. When will your academy be fully up and running? I tried signing up for the mailing list, but the link doesn't appear to work (at least not on my end -- used both Chrome and Safari with the same results).
@@NikhilHoganShow Looking forward to it. Between this page, your upcoming site, and Richardus Cochlearius's courses/instruction, one has a deep well from which to draw.
It’s amazing what a profound effect Mendelssohn‘s conservatory had on the rest of the world for nearly two centuries. The music building that I spent my days in during college was pretty much an exact replica, but on a smaller scale of Mendelssohn’s Leipzig Conservatory. What was notable were the names chiseled into the stone above the doorway on the outside of my college music building: Bach, Beethoven, Brahms, and Mozart, reinforcing that these humans produced work that was sacrosanct and unreachable by others.
Very true, I'm going to be examining the philosophy of music and the fine arts in greater detail in future episodes. Where did Werktreue spawn from? Why did they think this way? Why the utter hostility to the Italian masters?
@@NikhilHoganShow We have been friends since 2000. He is the only judge/clinician to have been invited EVERY year in the Festival for Creative Pianists, which I founded in 2001 as an antidote to the usual "loud, fast, note-perfect, single-genre, and no creativity allowed" format of SO many piano festivals/competitions. John is the very "poster child" for everything that my alt-festival promotes. Coincidentally, I am hoping to present on this same topic next year with Justin McKay, another classical improv enthusiast. Please keep tilting at windmills, Nikhil! Your podcast is awesome!
Thank you very much. Please also interview Justin McKay, a wonderful partimento and classical improvisor and teacher. Here is his TH-cam channel: youtube.com/@mckayjustin
Is it the standard of quality? I mean, I guess it depends on the choices the editor makes and how well documented a particular piece is. With some pieces that have few manuscripts, we can only make educated guesses.
@@NikhilHoganShow To amplify on this, there is the issue of Beethoven's handwriting, which was abysmal. What looks uncertain and ambiguous is made to look definitive in urtexts. Beethoven once wrote a blistering letter to his publisher. He was furious that the distinction between dot and wedge staccatos was not made clear in publications, and he explained the difference. However, the handwriting is SO bad that one would have to be psychic to differentiate the two types in Beethoven's handwriting!
How valuable interactions like this are for our musical culture, knowledge and performance! Thank you so much to the both of you, we need more videos like this. I can relate to so many instances that John Salmon was retelling and I agree with everything he said on historical interpretation and academic judgment thereof. Best thing we can do is to encourage as many piano players as possible to improvise and to connect it to their repertoire practice and perception, only good things can emerge from that.
Thanks, Ioana! One of the main purposes of this show is to change the culture of classical music away from modern performance practice culture.
John Salmon is wonderful! So glad to see him here!
A great audience recommendation!
What a wonderful Musician with a capital M! Thanks for all you do, Nikhil
Totally agree on Professor Salmon, real musician. Thanks for the kind words!
Great Show! I love that progression too at 32:29. I think I heard it in Domenico Alberti Op. 1. No. 5. II. Allegro.
Thank you!
Another fantastic episode.
Thank you for the kind words!
@@NikhilHoganShow Thank you for doing what you do. A wealth of proper pedagogy. When will your academy be fully up and running? I tried signing up for the mailing list, but the link doesn't appear to work (at least not on my end -- used both Chrome and Safari with the same results).
Sorry that's a dead link, totally new website that I'm trying to slowly put together. But I'll get it ready with new stuff soon!
@@NikhilHoganShow Looking forward to it. Between this page, your upcoming site, and Richardus Cochlearius's courses/instruction, one has a deep well from which to draw.
It’s amazing what a profound effect Mendelssohn‘s conservatory had on the rest of the world for nearly two centuries. The music building that I spent my days in during college was pretty much an exact replica, but on a smaller scale of Mendelssohn’s Leipzig Conservatory. What was notable were the names chiseled into the stone above the doorway on the outside of my college music building: Bach, Beethoven, Brahms, and Mozart, reinforcing that these humans produced work that was sacrosanct and unreachable by others.
Very true, I'm going to be examining the philosophy of music and the fine arts in greater detail in future episodes. Where did Werktreue spawn from? Why did they think this way? Why the utter hostility to the Italian masters?
such an incredible interview! thanks for sharing it
You're welcome!
Professor Alexandre Rachid (EM--UFRJ--Rio de Janeiro--Brazil) is an amazing classical improviser too.
I'll check him out.
He is truly amazing! But I don't know how to contact him.
Superb! ....as I would expect, always, from John!
He's a treasure!
@@NikhilHoganShow We have been friends since 2000. He is the only judge/clinician to have been invited EVERY year in the Festival for Creative Pianists, which I founded in 2001 as an antidote to the usual "loud, fast, note-perfect, single-genre, and no creativity allowed" format of SO many piano festivals/competitions. John is the very "poster child" for everything that my alt-festival promotes. Coincidentally, I am hoping to present on this same topic next year with Justin McKay, another classical improv enthusiast. Please keep tilting at windmills, Nikhil! Your podcast is awesome!
I'd love to invite you to come on the show too, Arthur. send me an email at info@songbirdmusicacademy.com if you're interested!
Will do!@@NikhilHoganShow
@arthurjosephhoulepianist looking forward to setting it up!
Yes please get these piano teachers together! John Salmon, John Mortenson, Noam Sivan and the Italian John S. mentioned!
It would be an awesome episode of improvising piano professors!
Thank you very much. Please also interview Justin McKay, a wonderful partimento and classical improvisor and teacher. Here is his TH-cam channel: youtube.com/@mckayjustin
Thanks, we are planning something for the future.
Ditto on this suggestion!
Working on it!
I have this question on this teacher: if urtext is not a standard of quality, how are editors able to determine what they are aiming for?
Is it the standard of quality? I mean, I guess it depends on the choices the editor makes and how well documented a particular piece is. With some pieces that have few manuscripts, we can only make educated guesses.
@@NikhilHoganShow To amplify on this, there is the issue of Beethoven's handwriting, which was abysmal. What looks uncertain and ambiguous is made to look definitive in urtexts. Beethoven once wrote a blistering letter to his publisher. He was furious that the distinction between dot and wedge staccatos was not made clear in publications, and he explained the difference. However, the handwriting is SO bad that one would have to be psychic to differentiate the two types in Beethoven's handwriting!
Why is the beginning sounding like Peterson's one?
Because they are the same?