As always, thank you, Tiffany, for sharing your process and journey with the world. Increasing maturity does afford a different perspective of our former selves. It becomes really apparent if you achieve an advanced age of 70+ years! Back in my college days (1960s) few people afforded themselves the ability to make audio (much less video/film) recordings of themselves, but I was able to make a few for me and friends. In them I now hear errors of many types but am also amazed at how much agility and passion I was able to muster. Today, looking back, I have much deeper insight overall than I did then. Some of those works I can no longer play or even attempt, but I have recently learned to play things I thought I would never be able to. If our work is also fun we are fortunate. Keep doing what you do so well.
It is our fate to change, and sometimes we cannot prevent loss during this. Let's strive for wisdom and mercy, to gain at least as much as we lose, until we have fulfilled our lives.
Hi Vlad! Didn't expect to see you here. I knew you're the type of person who'll like her content. I'd like to hear more about your musical views and philosophical insights on them. Much love.
This is exactly why you are a great pianist. Your analysis is so perceptive even of your past self. It's easy for all of us to sit here and agree, but I could definitely not do this to myself in such depth.
Especially as more time passes, and we look further back into the rearview mirror. Tiffany is still fairly young, and this was a relatively short span for retrospect.
Ne soyez pas trop dure avec vous même Tiffany. Je trouve votre interprétation de l’époque très expressive musicalement et visuellement. Vous êtes une très grande artiste.
I watch your livestream concert performance of un sospiro every couple of days. It is my favourite interpretation of the piece I've seen on TH-cam. Just wanted to let you know you are amazing!
I was but a mere listener to piano 3 years ago. You inspired me to start playing. Your playing back then is still genuinely enjoyable, though I really appreciate how your deep dive into Schumann informs how you now play his pieces more holistically and beyond just the score.
omg i was looking back at my old recordings and this video pops up😂 really love hearing your thought process!!! (also love how this video reminded me of how learning piano is a lifetime journey.....)
Thank for sharing your experience. We shall follow your lead in your preformance no matter what...like you are the conductor in an orchestra. You are amazing❤
personally, you add an immense amount to my feeling of being involved and understanding the pressures. im sure having the vlog helps you also, but it is a brave thing to be so honest about it all.
Tiffany your assessment is perfect. But... it was how you were feeling and it was your maturity at that time. And you are amazing not only because of you can play, but because you are aware about yourself. Just don't let your Superego (Freudian concept you should check) take control. Just be gentle with yourself and your development as an amazing musician that you are.
You are right about making sure to play Schuman's music in exact time. In Germany, Mozart's music and Schuman's music is not played in the same manner as Chopin's music, i.e., Romantic music. Horowitz got away with playing Mozart as though it was Romantic music but only because he was Horowitz. Thank you for posting the video. The self analysis of your musical interpretation is fascinating and enlightening.
I am going to say the usual cliché: we are always the hardest on ourselves. To me, the playing from 2020 sounded extraordinary, I couldn't notice anything bad in the sound. Maybe it's my lack of proper knowledge, but I found it beautiful. Still, in the little snippets you played, I could actually hear improvement, so... it was certainly nothing short of good 3 years ago, but I can't believe there is even greater!
I love it... "what was I thinking?" Just like an athlete watching game film to analyze/judge and improve performance, this is fun to see your reaction to yourself. Your growth as a performer and as a person really does show. I didn't notice until you said, "tempo is off"... hmmm. yeah I can hear that... "seasickness" haha. but never think that watching yourself and thinking you are much better now is a bad thing. That is the growth you have gained, to tell you the truth, the reason I love watching your videos, Your honesty and humility about how you play and how you practice to reach new and better performances. I love it.
It’s good to be self-critical, but spontaneity underpins so many of Schumann’s works, especially the sonatas, so don’t be hard on yourself if you felt tense when you played and that came through in the music - the best renditions of these wonderful sonatas tend to be where the pianist doesn’t neglect their own mood and atmosphere each time they play. If you’ve listened to Gilels’ Op. 11 performances and recordings for example, some are (excessively?) impetuous and unstable, whereas others are more restrained and introspective, but all can be equally treasured in their own way in the spirit of Florestan and Eusebius! Your Op.22 recording is beautiful and I’m sure when you perform it next, you will bring a fresh perspective with fresh ideas which is important to the growth of every musician. Bravo and keep striving :)
Absolutely love this!! Your growth is incredible and it's so addicting to see you critique yourself then showing your new interpretation! Thanks! ♥ I have to admit I was anxious to hear you critique yourself and initially was finding myself saying "hey! stop being so hard on her!" then caught myself that it is you critiquing yourself! 😅
I enjoyed this video. I have taken a big break from this piece as I felt I needed to emotionally and mentally grow and it has given me a new perspective on what I was doing wrong as well
This is such a great way to improve your skills, looking back on past performances, I also do that with myself and it works everytime! Much love Tiffany
Always so great to see another vlog from you pop up. I would think when you lean forward so much that you are putting a lot of strain on your elbows that will affect you down the road. Good luck in Dresden. Hope you do a get ready with me vlog then also.
Listening to yourself is good, even if it is uncomfortable. BUT as my horse instructor says, you should START by LOOKING AT THE POSITIVES. That has so many good effects on your psychology. And musically, I think it helps you not lose the good stuff you acknowledged before going on to fix the no longer wanted stuff...
Oh goodness, from today's perspective me three years ago was a mess. The wheels were just falling off of my phd research, and I had a lot of learning to do. Thankfully, learning is my favorite thing to do. I'm glad you can be critical of past Tiffany without being unkind, and see it as a way to always strive forward. ✨ Exciting new?! What might that be? 🤔🤞🙂
Responding to your question, 3 years ago I spent a lot of piano time (enabled by pandemic) and I tackled pieces that were always “too hard” for me. I found that with focused work I could actually play harder stuff (I’m just an amateur). My benchmark is that I make a recording I can tolerate listening to. I did the Gershwin song book, the Liszt Petrarch Sonnets, Granados Goyesca 4, and now Rachmaninov prelude in D. I even got a new piano (Yamaha yus3) as my old trusty (Yamaha u1) had become the weak link instead of me. It’s been very satisfying. I even am having lessons for the first time in 35 years 🎉
Yes, Tiffany, it was quite a passionate and dramatic performance and great job with that, but I did feel that the passion overflowed and the dynamic transitions were exaggerated. It kind of aligns with the trope that "more is better", but it's not the case. Rather, it's actually the relative difference between moments of how much is given and is expected that, unexpectedly, creates the most tension. The idea that "more is always better" runs into the problem that the whole piece endures such treatment and there becomes a lack of contrast. There's a lot more to say about that, but regarding "playing in time", you might find in the future that you weren't necessarily wrong in bending the time and dynamics, but perhaps you were bending it in the "wrong" way... (which does have a cringey effect)... anyway, nice video as always!
I also remember phrasing bar 63 with the downbeat on the second quaver as I had then heard or parsed from most recordings (same thing with bar 59 and on), its finally making sense (particularly the transition from bar 64 to 65) when I implemented the syncopation actually suggested by the sheet music. A similar phrasing contention occurs in Liszt's "Feux follets" where many pianists add a fermata to the first semiquaver of bars 9 or 42 etc., putting the emphasis on the second semiquaver, inconsistent with how they phrase this pattern in bar 49 etc., obscuring that connection and recurrence from the listener.
Thinking of playing for audiences I was an audience for my mother's Schumann before I went to school and remember Schumann directed to that sort of audience. Sort of letting the warm harmonic progressions come across.
At the time when i heard you play that song i really liked it . I thought it contained many of emotion . But i really enjoyed seeing you grow and improve . It’s a part of human creation and we should be thankful for our past us because they made us who we are today .
🤔 let's not criticize our past selves. it all made perfect sense back then. and what we are now we owe to them. :)) ❤ ps: seems to me you played with complete abandon and passion and love for the piece.. and that's admirable. :)
Lively performance showing much energy as though you are using muscles all over your body Tiffany ! You look balanced forward, though not stationary. Perhaps does reveal you physically more. It is emotionally charged music.
Tiffany, you are unarguably one of the best pianists in the world and you evidently have 1000’s and 1000’s of fans that seem to warm to your vulnerabilities and insecurities but sometimes your self pity is suffocating. Sorry if that seems too strong but something that indicates you like what you do from time to time would be nice.
We're all a "work in progress", even at 70 there's a heap of things I'm changing and hopefully improving on, but its all one day at a time, and don't sweat the small stuff.
Thank you for sharing! If I ever could ask for a favour it would be how you're viewing your performance of the Bach Partita no.2 recorded in 2017. In my view a stunning performance bordering on perfection but I wonder what your current thinking would be...
@TiffanyPoonpianist , It really does not need to be in time, but the tempo needs to be consistent. I think what you did not like hearing in your playing was your rubato sounded superficial. Many pianists do this in order to avoid the real technical difficulties of the piece. It is a lot easier to slow the speed of a piece down rather than keep it consistent, and in the case of this piece, the tempo needs to be consistent and get faster and faster over time.
Personally, I wish I could go back 3 years. I was in a happier place on a mental level than I am today. But I am looking forward to your concert next week.
It is very hard to look at oneself objectively. You concentrate on the bad things and take the good things for granted. I’m glad you found something positive, but most importantly. You find something constructive. The balance of control and liberty is always difficult. Too much control can feel boring, constrained and “canned” (so over rehearsed that it feels like a recording). Can there be too much liberty? Not when it is a true expression of spontaneous ideas within the music. That’s not the same as sloppy or a wacky interpretation.
and indeed you play it much better now (in my opinion). I don't know why a lot of pianists don't keep time in this sonata, maybe because of the sudden mood changes, or because it's Schumann so must be "patchy" (even if it's a sonata), or too much attention to local details, or just because it is very technically demanding keeping that "so quick as possible" all around... anyway, for the fews bars you played, it seems so much more mature to me and it makes so much more sense... good job
classical music is very difficult , too much details you have to look up for . that's why I am a composer and not classical perfumer. I really understand what Tiffany poon is saying
Yes, it does feel different before a real audience. I found Live Streaming a challenge and that the more you do it, the more you show your real self before others, rather than an actor on stage. Personally I like to see the charming capable girl who just loves the music, not a Liberace style of flamboyance.
my ears aren't sharp enough to understand a lot of what you said but this video is super interesting. thanks! looking forward to whatever you will be announcing soon. :-)
Maybe someday your interpretations will be the canonical ones. When I first listened to Satie's Gnossiennes, it happened to be Reinbert de Leeuw's version, which is a lot different from the other ones I've heard.
Don't cringe over what you look like when you're playing. If you need to wear a big bird onesie while standing on you're head and playing with your elbows to sound like you do, you're doing it right. The _only_ thing that matters is the music that comes out. And three years ago you sounded fantastic. I know you want to grow, but I certainly wouldn't call your playing cringe. There are only a handful of people that can do what you do as well as you do it. _Be proud of who you were._ She is is directly responsible for who you are today.
Hi I'm late but I really want to say this because it's intriguing to me. As a very emotional musician myself who likes to ignore written rhythm and articulation I actually love the way you part with the sheet music and stretch the ds a bit longer like in 7:24, which you yourself criticize. Admittedly I don't know the piece well but imo the more excited and emotional style to play it fits really well especially since it doesn't get draining because the piece isn't that long. If I was able to play it I think I too would chose to play more freely and hold the notes to make the music move more. Why is it that I like the recording and especially the 'note stretching' style so much that you chose about a year ago but now seemingly went on from? Is it youth or character, a mixture of both or just personal preference that changes depending on mental state? Well anyway, judging from your evaluation it seems your next performance of this piece will be of a totally different flavour and I would love to listen! But for now I hope to still snatch a ticket for your concert in Dresden, it appears it's sold out - congrats and I'm hoping to see and hear you there :")
Happy birthday commemorations to your favourite composer too. I hope your Dresden affair doesn’t wrinkle too many brows or diminish too many creative potentials, unnecessarily anyway. Good luck.
I don't think you are taking the Covid lockdown into account with your 2020 performance. The world is now open again and so is your approach to the music. I'm sure your forthcoming performance will be even more compelling than your last one. Maturing. Since 2020, I realise that I no longer think of you in terms of 'growing up', just 'growing more interesting'.
It's not the Sonata No 2, it's the No 3 in g min. Op. 22. Schumann wrote the Sonatas No 1 Op. 11 in f sharp min. and the Sonata Op. 14 in f min. before. But anyway. Tiffany is fantastic !
I feel that Clara Schumann was at least equal to her husband and is not appreciated enough. But I love Schumann as well, so I look forward to your interpretation.
When playing romantic composers, musical playing does not have to be strictly in tempo. Clara Schumann wrote about Johannes Brahms that he took a lot of liberties with the rhythm. Yes, that's good. If you play very precisely, it becomes unmusical. On the other hand, when you play with an orchestra, you stick to the rhythm and sometimes take liberties in between.
Tbh pointing out flaws isn’t necessarily a negative thing to do. It kinda depends on how you do it. Shouldn’t be a “you suck at this” but instead a “this is something I noticed and thought could be better, now you’re aware and can decide whether you agree or not”
This comment doesn't make any sense. Classical music is quite structured. She was just referencing her personal interpretation in that moment. If anything; jazz playing always strike me as somewhat random.
@@pianoreigns I know she was referencing personal interpretation. All I'm saying is, in jazz and many other genres it is expected that you keep a steady pulse/flow and that's why we tend to practice with the metronome a lot. On the other hand, when playing a classical piece there is a freedom to slow down, speed up, add slight breaths etc, and too much of it can be annoying. I'm not criticizing classical music as a whole, been studying composition for 3 years and it's amazing to see the harmonic roots of jazz especially in the romantic period.
@@ExecutionSommaire " You must first be able to play within the rules before you can go outside them" - Shostakovich. You seem to lack a basic understanding of classical music.
It's not unnecessary or random but it is different and it works both ways. Here a classical pianist briefly mentions it: th-cam.com/video/RHcZslDa6-s/w-d-xo.html Richard Tognetti says that classical musicians shouldn't play jazz, unless they can. Some, like Dudley Moore, certainly can.
Good demonstration of what an artist goes through through change and (tougher) growth (which happens at a glacier pace) (and thus not noticed)... as it is, you can use prior videos (performances) to learn from and build on, until... you reach your ultimate video. (then you die). Ha! (sorry). Then you build a variety... as for your movements, I just considered them stylized, what everyone else was doing...
it's been years since you've made a tiffany poon video lol. As much as I've stated over the years you're too hyper-critical of yourself, this is definitely a return to form (for your youtube videos atleast). We all age at the same rate I suppose, though.
3 years ago? I did a performance on Saturday and now I cringe like you are here. Every time I look at my videos it makes me practice more, so that can be a good thing.
I think we must realize a paradigm shift. First, the impresarios are much less important now in internet era as they were in classic era. Audiences search art on their own. There is no art without artist. Frozen art is limited. Second, we could have an AI play all these pieces perfectly, with scripted emotionality. To me, performing makes sense only when the musicians can tell their own life story through the lense of the composition. So, Tiffany, your older performances make sense because you were telling the intense story of your younger self, with all that expressionism, and it made you who you are. Improving quality is always an important mission, but how much simplicity should we desire, how much mannerism and ego should we abandon, before it becomes boring, or too particular to be of public interest? What does maturing mean actually? Does it mean you become more compatible to an idolized normative society, or does it mean to become more idiosyncratic? I believe the reaction by young audiences should be observed as a way to find an answer, when it is about art, and survival of art.
The sea sickness is a great keyword, before you came to that point, I already thought this is a thing, we should be conscious about, but it depends on our desires. I used to love that psychedelic "hippie" music and progressive rock, bands like "The Cure", much more than classic. It was you who brought that back into classic, and I started to love it more. In other words, music to me and many others is sometimes a needed drug. It is a million times better than any prozak or cannabis or whatever, except to some there is a material factor in brain chemistry etc, but still the power of art will be relevant also in that case. A friend of mine is producing jazzrock and funky fusion with strong classical influence, and it is so healthy to me. It has wild changes in volume and soundscape.
I've always wondered about noise between units and how much your neighbors hear of you practicing every day. In my own complex, noise between units is awful.
I think some of your self-critique is a function of being older/wiser/mellower in the time since the prior video. I can look back to my own writings, beliefs, artwork, and videos from a few years ago and similarly cringe at this or that choice I made back then. Someone who interviewed me for a podcast a few months back complimented me on one of my old music videos, and after I watched it, I cringed at a bunch of my choices back then, and I made a new "improved" video of the same song, even though people liked the old version. I'm guessing your old version was also well-received, so maybe you could be a little less tough on your former self, even through the lens of a more correct Schumann interpretation.
I remain impressed by your pianism, which imo has been consistently excellent. The problem with the performance in question is that you are over-emoting, i.e., trying to get more out of the music than there is in it, which ultimately weakens it. Every single phrase is not a matter of life and death. I advise you to cool it, and approach the piece more objectively. Think how Stravinsky might play it. :-)
Tiffany,recall (shove alter year record);it piece-inference relifen,because no Sergio but additional dungeon sadness are you in no want(disbalans)my voice can despaire(no present but just,what and is different,can warten yet day~10?
The over exaggerated way of playing seems to be favoured by a lot of piano professors I’ve had over the years. I’ve heard it’s a North American style versus a more restrained European style. I’ve always had the problem of being too restrained and analytical in romantic music. I’m much more suited to the classical period.
Happy Birthday to my favorite composer - Robert Schumann 🎈
You play and we will listen !
3rd sonata f-minor please!
Happy belated birthday 🎂
As always, thank you, Tiffany, for sharing your process and journey with the world. Increasing maturity does afford a different perspective of our former selves. It becomes really apparent if you achieve an advanced age of 70+ years! Back in my college days (1960s) few people afforded themselves the ability to make audio (much less video/film) recordings of themselves, but I was able to make a few for me and friends. In them I now hear errors of many types but am also amazed at how much agility and passion I was able to muster. Today, looking back, I have much deeper insight overall than I did then. Some of those works I can no longer play or even attempt, but I have recently learned to play things I thought I would never be able to. If our work is also fun we are fortunate. Keep doing what you do so well.
It is our fate to change, and sometimes we cannot prevent loss during this. Let's strive for wisdom and mercy, to gain at least as much as we lose, until we have fulfilled our lives.
Such a lovely and healthy diary.
Hi Vlad! Didn't expect to see you here. I knew you're the type of person who'll like her content. I'd like to hear more about your musical views and philosophical insights on them. Much love.
Not too many concert pianists would openly critique their own playing like this. Kudos. 👍👍👍
The way you look back at your playing and change what you think you need to is so inspirational (in all ways in life of course :)
Aww thank you for reflecting with me :)
This is exactly why you are a great pianist. Your analysis is so perceptive even of your past self. It's easy for all of us to sit here and agree, but I could definitely not do this to myself in such depth.
it's great to see you grow from a sweet little girl to the high flying personality and wonderful young lady musician you are
Almost all of us look back and cringe at our former selves.. and for various reasons. It's a semi-normal phenomenon 😊
Especially as more time passes, and we look further back into the rearview mirror. Tiffany is still fairly young, and this was a relatively short span for retrospect.
@@2sday538 💯 agree
Ne soyez pas trop dure avec vous même Tiffany. Je trouve votre interprétation de l’époque très expressive musicalement et visuellement.
Vous êtes une très grande artiste.
I watch your livestream concert performance of un sospiro every couple of days. It is my favourite interpretation of the piece I've seen on TH-cam. Just wanted to let you know you are amazing!
Ohh thank you! 🙏🎶
I was but a mere listener to piano 3 years ago. You inspired me to start playing.
Your playing back then is still genuinely enjoyable, though I really appreciate how your deep dive into Schumann informs how you now play his pieces more holistically and beyond just the score.
That's totally awesome you're patreon supporters allow you to pursue your art. You totally deserve it!
omg i was looking back at my old recordings and this video pops up😂 really love hearing your thought process!!! (also love how this video reminded me of how learning piano is a lifetime journey.....)
Thank for sharing your experience. We shall follow your lead in your preformance no matter what...like you are the conductor in an orchestra. You are amazing❤
Would you rather be a director?
personally, you add an immense amount to my feeling of being involved and understanding the pressures. im sure having the vlog helps you also, but it is a brave thing to be so honest about it all.
I was one of those who enjoyed it at the time. You are constantly improving and getting even better.
Plays perfectly to any of us listening.
"I knew this was an issue."
So interesting that we have a mysterious part of us that knows what is correct or not or beautiful or not. But we can trust it
Enjoy your vlogs. Thanks for posting
Tiffany your assessment is perfect. But... it was how you were feeling and it was your maturity at that time. And you are amazing not only because of you can play, but because you are aware about yourself. Just don't let your Superego (Freudian concept you should check) take control. Just be gentle with yourself and your development as an amazing musician that you are.
You are right about making sure to play Schuman's music in exact time. In Germany, Mozart's music and Schuman's music is not played in the same manner as Chopin's music, i.e., Romantic music. Horowitz got away with playing Mozart as though it was Romantic music but only because he was Horowitz. Thank you for posting the video. The self analysis of your musical interpretation is fascinating and enlightening.
can never get over on how beautiful you play, love you Tiffany. you’re amazing and goodluck💕💕
I am going to say the usual cliché: we are always the hardest on ourselves. To me, the playing from 2020 sounded extraordinary, I couldn't notice anything bad in the sound. Maybe it's my lack of proper knowledge, but I found it beautiful. Still, in the little snippets you played, I could actually hear improvement, so... it was certainly nothing short of good 3 years ago, but I can't believe there is even greater!
Love your diaries...you are such a teacher. Thank you
I love it... "what was I thinking?" Just like an athlete watching game film to analyze/judge and improve performance, this is fun to see your reaction to yourself. Your growth as a performer and as a person really does show. I didn't notice until you said, "tempo is off"... hmmm. yeah I can hear that... "seasickness" haha. but never think that watching yourself and thinking you are much better now is a bad thing. That is the growth you have gained, to tell you the truth, the reason I love watching your videos, Your honesty and humility about how you play and how you practice to reach new and better performances. I love it.
It’s good to be self-critical, but spontaneity underpins so many of Schumann’s works, especially the sonatas, so don’t be hard on yourself if you felt tense when you played and that came through in the music - the best renditions of these wonderful sonatas tend to be where the pianist doesn’t neglect their own mood and atmosphere each time they play. If you’ve listened to Gilels’ Op. 11 performances and recordings for example, some are (excessively?) impetuous and unstable, whereas others are more restrained and introspective, but all can be equally treasured in their own way in the spirit of Florestan and Eusebius!
Your Op.22 recording is beautiful and I’m sure when you perform it next, you will bring a fresh perspective with fresh ideas which is important to the growth of every musician. Bravo and keep striving :)
Absolutely love this!! Your growth is incredible and it's so addicting to see you critique yourself then showing your new interpretation! Thanks! ♥ I have to admit I was anxious to hear you critique yourself and initially was finding myself saying "hey! stop being so hard on her!" then caught myself that it is you critiquing yourself! 😅
I enjoyed this video. I have taken a big break from this piece as I felt I needed to emotionally and mentally grow and it has given me a new perspective on what I was doing wrong as well
This is such a great way to improve your skills, looking back on past performances, I also do that with myself and it works everytime! Much love Tiffany
Always so great to see another vlog from you pop up. I would think when you lean forward so much that you are putting a lot of strain on your elbows that will affect you down the road. Good luck in Dresden. Hope you do a get ready with me vlog then also.
I love musical diaries I absolutely love it
Honestly I like the young exaggerated performance too.
Listening to yourself is good, even if it is uncomfortable. BUT as my horse instructor says, you should START by LOOKING AT THE POSITIVES. That has so many good effects on your psychology. And musically, I think it helps you not lose the good stuff you acknowledged before going on to fix the no longer wanted stuff...
Oh goodness, from today's perspective me three years ago was a mess. The wheels were just falling off of my phd research, and I had a lot of learning to do. Thankfully, learning is my favorite thing to do. I'm glad you can be critical of past Tiffany without being unkind, and see it as a way to always strive forward. ✨ Exciting new?! What might that be? 🤔🤞🙂
Bodily performance ! Your clearly very proud on a huge performance. Thank you for sharing this.
Responding to your question, 3 years ago I spent a lot of piano time (enabled by pandemic) and I tackled pieces that were always “too hard” for me. I found that with focused work I could actually play harder stuff (I’m just an amateur). My benchmark is that I make a recording I can tolerate listening to. I did the Gershwin song book, the Liszt Petrarch Sonnets, Granados Goyesca 4, and now Rachmaninov prelude in D. I even got a new piano (Yamaha yus3) as my old trusty (Yamaha u1) had become the weak link instead of me. It’s been very satisfying. I even am having lessons for the first time in 35 years 🎉
Yes, Tiffany, it was quite a passionate and dramatic performance and great job with that, but I did feel that the passion overflowed and the dynamic transitions were exaggerated. It kind of aligns with the trope that "more is better", but it's not the case. Rather, it's actually the relative difference between moments of how much is given and is expected that, unexpectedly, creates the most tension. The idea that "more is always better" runs into the problem that the whole piece endures such treatment and there becomes a lack of contrast. There's a lot more to say about that, but regarding "playing in time", you might find in the future that you weren't necessarily wrong in bending the time and dynamics, but perhaps you were bending it in the "wrong" way... (which does have a cringey effect)... anyway, nice video as always!
I also remember phrasing bar 63 with the downbeat on the second quaver as I had then heard or parsed from most recordings (same thing with bar 59 and on), its finally making sense (particularly the transition from bar 64 to 65) when I implemented the syncopation actually suggested by the sheet music. A similar phrasing contention occurs in Liszt's "Feux follets" where many pianists add a fermata to the first semiquaver of bars 9 or 42 etc., putting the emphasis on the second semiquaver, inconsistent with how they phrase this pattern in bar 49 etc., obscuring that connection and recurrence from the listener.
Thinking of playing for audiences I was an audience for my mother's Schumann before I went to school and remember Schumann directed to that sort of audience. Sort of letting the warm harmonic progressions come across.
I absolutely love playing Schumann--- one of my favorite composers. Shame he died in the madhouse at such a young age.
I love the honesty in your self-critique✊🏿💯‼️ Very inspirational how you can objectively criticize and get inspiration from....yourself😁💯✊🏿‼️
Yeeees!! Tiffany alert! 😍
At the time when i heard you play that song i really liked it . I thought it contained many of emotion . But i really enjoyed seeing you grow and improve . It’s a part of human creation and we should be thankful for our past us because they made us who we are today .
🤔 let's not criticize our past selves. it all made perfect sense back then. and what we are now we owe to them. :)) ❤
ps: seems to me you played with complete abandon and passion and love for the piece.. and that's admirable. :)
Lively performance showing much energy as though you are using muscles all over your body Tiffany ! You look balanced forward, though not stationary. Perhaps does reveal you physically more. It is emotionally charged music.
Wonderful
See you in Dresden 🎹🎵🎼🎶
Do you have any suggestions on what kind of practice we should do in order to maintain consistency in tempo in such long pieces?
Tiffany, you are unarguably one of the best pianists in the world and you evidently have 1000’s and 1000’s of fans that seem to warm to your vulnerabilities and insecurities but sometimes your self pity is suffocating. Sorry if that seems too strong but something that indicates you like what you do from time to time would be nice.
She'll get to that point as she grows older... trust me.
Interesting. Good luck in Dresden!
We're all a "work in progress", even at 70 there's a heap of things I'm changing and hopefully improving on, but its all one day at a time, and don't sweat the small stuff.
Thank you for sharing! If I ever could ask for a favour it would be how you're viewing your performance of the Bach Partita no.2 recorded in 2017. In my view a stunning performance bordering on perfection but I wonder what your current thinking would be...
@TiffanyPoonpianist ,
It really does not need to be in time, but the tempo needs to be consistent. I think what you did not like hearing in your playing was your rubato sounded superficial. Many pianists do this in order to avoid the real technical difficulties of the piece. It is a lot easier to slow the speed of a piece down rather than keep it consistent, and in the case of this piece, the tempo needs to be consistent and get faster and faster over time.
Personally, I wish I could go back 3 years. I was in a happier place on a mental level than I am today. But I am looking forward to your concert next week.
It is very hard to look at oneself objectively. You concentrate on the bad things and take the good things for granted. I’m glad you found something positive, but most importantly. You find something constructive.
The balance of control and liberty is always difficult. Too much control can feel boring, constrained and “canned” (so over rehearsed that it feels like a recording).
Can there be too much liberty? Not when it is a true expression of spontaneous ideas within the music. That’s not the same as sloppy or a wacky interpretation.
and indeed you play it much better now (in my opinion). I don't know why a lot of pianists don't keep time in this sonata, maybe because of the sudden mood changes, or because it's Schumann so must be "patchy" (even if it's a sonata), or too much attention to local details, or just because it is very technically demanding keeping that "so quick as possible" all around... anyway, for the fews bars you played, it seems so much more mature to me and it makes so much more sense... good job
Be nice to yourself, you're great :)
Tiffany , sometime i look you ; so sweet when you play piano on concert.
classical music is very difficult , too much details you have to look up for .
that's why I am a composer and not classical perfumer.
I really understand what Tiffany poon is saying
Can we see your sheet music collection? I imagine you’ve collected a lot of books over the years!
I like your shirt!
Yes, it does feel different before a real audience. I found Live Streaming a challenge and that the more you do it, the more you show your real self before others, rather than an actor on stage. Personally I like to see the charming capable girl who just loves the music, not a Liberace style of flamboyance.
my ears aren't sharp enough to understand a lot of what you said but this video is super interesting. thanks!
looking forward to whatever you will be announcing soon. :-)
💎
Maybe someday your interpretations will be the canonical ones. When I first listened to Satie's Gnossiennes, it happened to be Reinbert de Leeuw's version, which is a lot different from the other ones I've heard.
We all get anxious over things that don’t exist from time to time.
Don't cringe over what you look like when you're playing. If you need to wear a big bird onesie while standing on you're head and playing with your elbows to sound like you do, you're doing it right. The _only_ thing that matters is the music that comes out.
And three years ago you sounded fantastic. I know you want to grow, but I certainly wouldn't call your playing cringe. There are only a handful of people that can do what you do as well as you do it. _Be proud of who you were._ She is is directly responsible for who you are today.
Hi I'm late but I really want to say this because it's intriguing to me.
As a very emotional musician myself who likes to ignore written rhythm and articulation I actually love the way you part with the sheet music and stretch the ds a bit longer like in 7:24, which you yourself criticize.
Admittedly I don't know the piece well but imo the more excited and emotional style to play it fits really well especially since it doesn't get draining because the piece isn't that long. If I was able to play it I think I too would chose to play more freely and hold the notes to make the music move more. Why is it that I like the recording and especially the 'note stretching' style so much that you chose about a year ago but now seemingly went on from? Is it youth or character, a mixture of both or just personal preference that changes depending on mental state?
Well anyway, judging from your evaluation it seems your next performance of this piece will be of a totally different flavour and I would love to listen!
But for now I hope to still snatch a ticket for your concert in Dresden, it appears it's sold out - congrats and I'm hoping to see and hear you there :")
keep striving
Happy birthday commemorations to your favourite composer too. I hope your Dresden affair doesn’t wrinkle too many brows or diminish too many creative potentials, unnecessarily anyway. Good luck.
I don't think you are taking the Covid lockdown into account with your 2020 performance. The world is now open again and so is your approach to the music. I'm sure your forthcoming performance will be even more compelling than your last one. Maturing. Since 2020, I realise that I no longer think of you in terms of 'growing up', just 'growing more interesting'.
Good on you for the bravery of analyzing the past... but I gotta tell ya - You were playing the heck out of that piano
Where do you see the difference to Marta Argerich's interpretation?
It's not the Sonata No 2, it's the No 3 in g min. Op. 22. Schumann wrote the Sonatas No 1 Op. 11 in f sharp min. and the Sonata Op. 14 in f min. before. But anyway. Tiffany is fantastic !
항상 연주 잘 듣고있습니다! 한국은 안오시나요..?!
I feel that Clara Schumann was at least equal to her husband and is not appreciated enough. But I love Schumann as well, so I look forward to your interpretation.
See u in Dresden👋
When playing romantic composers, musical playing does not have to be strictly in tempo. Clara Schumann wrote about Johannes Brahms that he took a lot of liberties with the rhythm. Yes, that's good.
If you play very precisely, it becomes unmusical. On the other hand, when you play with an orchestra, you stick to the rhythm and sometimes take liberties in between.
Tbh pointing out flaws isn’t necessarily a negative thing to do. It kinda depends on how you do it. Shouldn’t be a “you suck at this” but instead a “this is something I noticed and thought could be better, now you’re aware and can decide whether you agree or not”
Love this kind of analysis. As a jazz person, the unnecessary timing randomness in a lot of classical playing has always annoyed me!
This comment doesn't make any sense. Classical music is quite structured. She was just referencing her personal interpretation in that moment. If anything; jazz playing always strike me as somewhat random.
@@pianoreigns I know she was referencing personal interpretation. All I'm saying is, in jazz and many other genres it is expected that you keep a steady pulse/flow and that's why we tend to practice with the metronome a lot. On the other hand, when playing a classical piece there is a freedom to slow down, speed up, add slight breaths etc, and too much of it can be annoying. I'm not criticizing classical music as a whole, been studying composition for 3 years and it's amazing to see the harmonic roots of jazz especially in the romantic period.
@@ExecutionSommaire " You must first be able to play within the rules before you can go outside them" - Shostakovich. You seem to lack a basic understanding of classical music.
@@pianoreigns You seem to lack basic understanding in general, I'm out. Have a good day nonetheless.
It's not unnecessary or random but it is different and it works both ways. Here a classical pianist briefly mentions it: th-cam.com/video/RHcZslDa6-s/w-d-xo.html
Richard Tognetti says that classical musicians shouldn't play jazz, unless they can. Some, like Dudley Moore, certainly can.
紅色高跟👠
You look highly emotional when playing in performance , romantic emotions ? who knows ? You Tiffany !
Might there be a connection between your erratic sitting position in 2020 and the "seasickness" you mentioned? Sitting still might help...
❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Good demonstration of what an artist goes through through change and (tougher) growth (which happens at a glacier pace) (and thus not noticed)... as it is, you can use prior videos (performances) to learn from and build on, until... you reach your ultimate video. (then you die). Ha! (sorry). Then you build a variety... as for your movements, I just considered them stylized, what everyone else was doing...
when doing these excercises it is just as important to point out what you did well . critique without positive reinforcement is futile .
it's been years since you've made a tiffany poon video lol. As much as I've stated over the years you're too hyper-critical of yourself, this is definitely a return to form (for your youtube videos atleast). We all age at the same rate I suppose, though.
3 years ago? I did a performance on Saturday and now I cringe like you are here. Every time I look at my videos it makes me practice more, so that can be a good thing.
I think we must realize a paradigm shift.
First, the impresarios are much less important now in internet era as they were in classic era. Audiences search art on their own. There is no art without artist. Frozen art is limited.
Second, we could have an AI play all these pieces perfectly, with scripted emotionality.
To me, performing makes sense only when the musicians can tell their own life story through the lense of the composition.
So, Tiffany, your older performances make sense because you were telling the intense story of your younger self, with all that expressionism, and it made you who you are.
Improving quality is always an important mission, but how much simplicity should we desire, how much mannerism and ego should we abandon, before it becomes boring, or too particular to be of public interest?
What does maturing mean actually? Does it mean you become more compatible to an idolized normative society, or does it mean to become more idiosyncratic?
I believe the reaction by young audiences should be observed as a way to find an answer, when it is about art, and survival of art.
The sea sickness is a great keyword, before you came to that point, I already thought this is a thing, we should be conscious about, but it depends on our desires.
I used to love that psychedelic "hippie" music and progressive rock, bands like "The Cure", much more than classic. It was you who brought that back into classic, and I started to love it more.
In other words, music to me and many others is sometimes a needed drug. It is a million times better than any prozak or cannabis or whatever, except to some there is a material factor in brain chemistry etc, but still the power of art will be relevant also in that case.
A friend of mine is producing jazzrock and funky fusion with strong classical influence, and it is so healthy to me. It has wild changes in volume and soundscape.
As an old romantic I prefer the dramatic, slow version 😋
I've always wondered about noise between units and how much your neighbors hear of you practicing every day. In my own complex, noise between units is awful.
I think some of your self-critique is a function of being older/wiser/mellower in the time since the prior video. I can look back to my own writings, beliefs, artwork, and videos from a few years ago and similarly cringe at this or that choice I made back then. Someone who interviewed me for a podcast a few months back complimented me on one of my old music videos, and after I watched it, I cringed at a bunch of my choices back then, and I made a new "improved" video of the same song, even though people liked the old version. I'm guessing your old version was also well-received, so maybe you could be a little less tough on your former self, even through the lens of a more correct Schumann interpretation.
I hate noise dearly specially from backyard ,dog barking,chainsaws……..😡😡😡😡😡😡😡😡😡😡😡😡😡😡😡😡😡
I remain impressed by your pianism, which imo has been consistently excellent. The problem with the performance in question is that you are over-emoting, i.e., trying to get more out of the music than there is in it, which ultimately weakens it. Every single phrase is not a matter of life and death. I advise you to cool it, and approach the piece more objectively. Think how Stravinsky might play it. :-)
Tiffany,recall (shove alter year record);it piece-inference relifen,because no Sergio but additional dungeon sadness are you in no want(disbalans)my voice can despaire(no present but just,what and is different,can warten yet day~10?
The over exaggerated way of playing seems to be favoured by a lot of piano professors I’ve had over the years. I’ve heard it’s a North American style versus a more restrained European style. I’ve always had the problem of being too restrained and analytical in romantic music. I’m much more suited to the classical period.
Hello
Voulez vous de l'aide et des explications ? Ou préférez vous continuer de cette façon ? Bonne suite à vous ...
No Tiiany.
如果跟其他樂器也許會不同