Minute 09:39: that's marvelous! This introduction of the Rachmaninov prelude sounds so rich of different colors, deep running and orchestral. This short introduction is on a world class level and indicates a deep deep dive into the art to compose, starting with Haendel, Bach, the Italian composers up to the centuries. And than this fantastic russian approach in composition. Wow! This man is a real true musician and he knows everything about music, literature and arts! Fantastic! That's what we can't see in a large range in the US nor in Europe. this few bars of that Rachmaninov prelude sounds absolutely breathtaking! Thank you so much to this teacher and musician!
Video highlights: 00:55. Describing the Russian method - not an easy task. 01:28. Let's turn to Russian history: the cultural 'lag' from the 16th-18th centuries, and the remarkable leap from the 19th century. 03:35. What does the term 'Russian Piano School' really mean? Main characteristics: the connection to singing, the melodiousness of sound that comes from Russian songs. 04:14. Piano touch - how is the melodious sound created? The Moscow and St. Petersburg Conservatories founded by the Rubinstein brothers - the cradles of professional musical education. 05:27. How do we make the piano sound SING? The importance of the first piano lessons: how to play the first note (the whole-arm weighted non-legato key attack). 06:11. The importance of weight, whole-arm action, arm/wrist looseness and flexibility for creating a melodious, full sound. 08:46. The deep, 'free-sinking' weighted key attack - essential in playing Rachmaninoff. How to avoid a 'banging' sound. 11:14. Scriabin and the evolution of his style and sound: the church bells and the 'flight'. How do we learn to 'flutter'? The delicate and loose 'caressing' touch. 12:46. The 'falling arm' exercise (learning how to 'disconnect' your arm and make it completely loose) - useful for understanding what weight really is. 13:15. Returning to Scriabin and the 'caressing' touch. The gentle stroke needed for creating an 'evaporating', 'melting' effect. The 'upward' vs 'downward' direction of movement (Scriabin vs Rachmaninoff). 15:18. The way Prokofiev 'burst' into the musical world. The needed touch for playing his works - 'fingers of steel'! The 'hammer-striking' instrument. 19:54. The 'bell-like' sound (introduced by Mussorgsky) - the element that connects all Russian composers. The bell tolls that accompanied a person from birth to death. 23:21. The special pedaling approach needed for creating this 'bell atmosphere'. 24:48. The bells and the 'piano roar' from Mussorgsky's works. The orchestral capabilities of our instrument. 25:49. The bells in Shostakovich's music. Bells, weight, free shoulders and arms - something teachers must 'preach' during every lesson :). 26:48. The same piano can sound absolutely different when played by different people. Emil Gilels's sound and technique. 27:15. Singing at the piano. Weight transfer and the 'hitless' (gradual) touch. Legato - the key to the piano. 29:57. Intonation. 33:12. Legato playing as a deity - the main attitude which distinguishes the Russian school. Differences between the European and Russian piano schools. 35:36. Playing 'without hammers'. There is a bow, and there is singing.
This is far the most informative, generous and of a high level tutorial on Russian piano technique available on TH-cam. Thanks a lot to Mr. Monastyrski!
I am a father and an ametuer pianist, this gives me lots of inspiration, and I would try my best to pass this knowledge down to my children. Thank you Master Vadim
Sir, I agreed with you 100%. I met Vladimir Ashkenazy in Sydney. I have applied "weight"method and discovered lots of speed and relaxation that surpasses finger power only.
Such an insightful masterclass from Vadim Monastyrski!!! He has given me a wonderful technique for learning how to play the piano. I am deeply indebted to him.
Bravo! In all my activities, whether it be sports, Tai Chi, drawing, piano, my loved ones I always imagine caressing with my whole body. It is the way of life.
A remarkable presentation. Intensely connected : Intelligent words and passionate music "made one" by excellent played examples. Love your work, Vadim Monastyrski. Thanks.
(MUY GENEROSO, PROFESOR) VERY GENEROUS PROFESSOR, they already said it, and now I repeat it from the bottom of my heart, thank you for sharing your wisdom.
This lesson has done wonders! I have watched it at least 25 times - and I am still learning something new - incorporating these principles - to great advance.Thank you so much!
Очень интересно! Я всегда восхищаюсь русскими пианистами, русской музыкой для фортепиано. А очень умное замечание к концу урока - и Европейская школа по-своему хороша, а очень благородное пожелание в самом конце - пусть всеми этими ценностями русской школы гордится не только Россия, но и целое человечество. Ну конечно-же! Какая открытость, какая типично русская ширина воззрения! Здорово! Браво! Спасибо за то, как поделились этим видео! С тёплым приветом и наилучшими пожеланиями из Испании.
Really wonderful lecture, as it shows how some Russians....did not use the technique! Vadim's demonstration of the huge contrasts is outstanding, inspiring. Don't bang...unless it is called for......then....you must, with fingers of steel! To be avoided if possible ;)
Outstanding presentation and information. After having had four teachers who taught no expression whatsoever, how I wish this had been available many years ago. Bravo! I am hoping to begin lessons soon with a wonderful artistic instructor who I am sure employs these skills.
Great video - many thanks for posting it with English subtitles! I like the distinction Mr. Monastyrski makes between 'tik-tik' and 'tih-dih' - there is such a crucial difference between the two!
Wow. This is stupendous. Now I understand why I love Arthur Rubenstein so much, why his playing is so different, why pianos sound so different with varying players, and why my own piano hasn't yet sung... Many thanks
This is wonderful! I teach beginning and intermediate piano. I learned piano more than 50 years ago from a concert pianist who was in her 80s. She was a student of the great Artur Schnabel. She taught me to use a "wholistic" approach to playing. She showed me how to use the wrists to keep the hands relaxed and to connect notes. This video goes deeper than what I remember. I greatly admire Russian music and suspect Schnabel may have had Russian influence with his approach to piano technique.
@@DavidMartinez-rk6fd Thank you. My teacher bragged about the Czerny connection back to Beethoven, but I am really glad to have the Russian background in my training.
Дорогой учитель, мне очень понравились ваши видео, и я хотел бы попросить вас, не могли бы вы предложить мне несколько начальных упражнений, учитывая, что я взрослый новичок, но по этой причине я также архитектор, очень вовлеченный в ваши объяснения о прикосновении к клавише фортепиано. Я думал, что я уважаю написание их на русском языке, но я не буду контролировать то, что я буду писать. Спасибо вам в любом случае за эти прекрасные уроки. с уважением и симпатией Андреа Балсимелли
Hello Mr.Monastyrski, I really enjoy your video. Wish I could have Russian training when I was young. I'm curious if you could talk about how to help students build singing tone from the very early stage of piano learning? Also how to build a strong support of the hand structure in order to free the arms and shoulders?
Hello Wen! Check our Irina Gorin's TH-cam channel. She is a great piano pedagogue, known for her piano method book called Tales of a Musical Journey. Her method is based on the principles mentioned in the video, but presented in a way that engages young beginners. Ever since I've encountered Irina's teaching, I have changed how I deal with my students and I have seen much improvement in their technique. You could purchase her books at her website: www.irinagorin.com/ All the best! Ciata
kind teacher, I really enjoyed your videos and I would like to ask you if you can suggest me some initial exercises considering that I am an adult beginner but for this reason I am also an architect very involved in your explanations about the touch of the piano key. I had thought, I respect writing them in Russian but I wouldn't be in control of what I would write. Thank you anyway for these beautiful lessons. with esteem and sympathy Andrea Balsimelli
У нас тут был такой "музыкальный просветитель" Валентин Предлогов, который скончался в 14 году. Он был весьма популярен в интернете. Так вот он и вообще-то не очень жаловал это "русское звукоизвлечение", но особенно напирал на то, что оно оказалось совершенно губительным для восприятия музыки Скрябина. Здесь, говорил Предлогов, нужно играть "не в рояль, а ИЗ рояля". Вдаваться глубоко я здесь не буду, но можно согласиться, что представленное восприятие русской музыки (здесь, в лекции), несколько однобоко. Оно действительно ориентировано на её "рахманиновскую" сторону, но есть и противоположная сторона, скрябинская. Россия соединяет эти противоположные стихии, влажную и огненную, в этом её величие, и этот момент в лекции несколько потерялся.
Спасибо вам за анализ! Но вы невнимательно посмотрели! Я говоря о Скрябине как раз привёл в пример, что наооборот Рахманинскому прикосновению, у Скрябина все парит и требует другого извлечения Из Рояля!!! Посмотрите внимательно а пото послушайте как я играю Скрябина и как я касаюсь рояля! Спасибо!
@@vadimmonastyrski7847 Знаете, я на самом деле уже тогда послушал внимательней и убедился, что у Вас есть понимание проблемы. Но всё-таки при таком вот систематическом рассмотрении как-то хотелось бы большего артикулирования этой противоположности, о которой я написал.
One thing I'm confused by: in another lecture from Bennet Lerner (see th-cam.com/video/66RexiP7R-o/w-d-xo.html), he says he had some lessons from Sascha Gorodnitzki, who was taught by Josef Lhevinne (husband of Rosina Lhevinne). He was taught to practice with very high fingers, to the point of pain. This seems contrary to the suggestions here in this video, where fingers are very close to the keyboard. Does the Russian method promote raising fingers?
I'm no expert on the "Russian method" per se, but in Norway most of the brilliant teachers I have encounterd teach by the methods in this video and lifting fingers like you mention is a big no no. I remember seeing a video of Lang Lang where he talks about how to develop a strong technique and he says lifting the fingers high when practising is essential. This is complete bollocs. The playing happens down at the keys, not in the air above. Look at the fingers of pianists like Andsnes and Hamelin. Superb techniques, they don't use more energy than needed for the job. It does not look so flashy when the fingers dont look like spiders on crystal meth, but who cares about that? Lang perhaps? When Hamelin gets critique that it looks to easy when he plays hard stuff is the best compliment about his technique that he could get.
To Efim Boico. You obviously do not understand the Russian method. It is oh so much more than hand and arm weight and glued to the keys legato. I haven’t heard legato defined as glued to the keys since I was a child with my first teacher. You have a lot to learn.
One does not hear the poetry of bells in the US. One hears the dirge of machines, automobiles, airplanes, jackhammers, backhoes, sirens, gunfire, and mob riots.
Russian music is constructed from musics of different nationalities. Ukrainian gypsy and many others maybe 20 sounds of different nationalities Jewish included. Do you know why because Rubinstein‘s they were Jewish. Please take that into consideration who were the players including and gentlemen who posted this video. With great respect Benjamin Perlman.
No such thing as Ukranian gypsy. You don't know what you babbling about. But certainly, many Jewish pianists were educated in Russian school of piano playing and themselves influenced it.
Надо учиться играть не на основе культурных стереотипов, а на основе научных принципов и методов. И у Владимира Горовица техника была Шопена, а не русская.
Ivan Moravec, Friedrich Gulda, Clara Haskil, Dinu Lipatti, Geza Anda, Wilhelm Backhaus, Claudio Arrau, Martha Argerich, Alfred Brendel, Samson Francois, Ingrid Haebler, have nothing to do with this so-called Russian piano School yet they all have the same, if not even more refined incredible sound pallets and glorious singing tone.Anton Rubinstein was a Polish Jew studied with Alexandre Villiong and Nicolai with Kullak, a German. The Russians took and learned everything from the Europeans..The above mentioned pianists achieve the same profound sonorities on the piano with an absolute economy of movement in contrast to the exaggerated movements demonstrated by Mister Monastersky. Btw...his fourth finger is a reason for concern.
Horowitz, Rubenstein 1 and 2, Ashkenazi, Gilels, Kissin, Sokolov, Rachmaninov, Tchaikovsky, Berman, Cherkassky, Richter, Gavrilov have everything to do with Russian school. Your racist attitude is a reason of concern.
@@buxtehude123 racist attitude? my dear friend.You false accustation is THE REAL reason for concern. I merely mentioned facts.You are clearly "behind" and very biased. Your just an ordinary troll.Bye.
The enormous and transcendental sound palettes of Michelangeli, Gieseking , all manifested with an absolute economy of movement impress me more than all the blabla in the above video. just listen to Rach. 4 in the hands of Michelangeli..no RUSSIAN EVER came close to the tremendous energy unleashed in this Concerto by ABM. Listen to Alicia de la Rocha in Rach. 3..same same. No Russian pianoschool..on the contrary. Listen to Sergio Fiorentino ,Italian, in the complete Rachmaninov works..no RUSSIAN EVER came close to him. I witnessed ABM en Fiorentino " live"..nothing like it.
Russian piano school does not exist. Russian music yes. Everything comes from inner feeling of being Russian Russian born. And touch also comes from it no matter what you’re going to say is genetic. I love the explanation but I cannot help anybody to play Russian music without being Russian.Vladimir Horowitz used to have a lot of problems trying to explain the phenomenon.
Really? that I know the basis of playing the piano of any school is using the weight of the hand and body to extract the sound. The string does not vibrate otherwise, does not give the true depth and beauty of the sound. This axiom does not belong only to the Russian school.Legato game with glued fingers to the keys?Totally nonsense! it is not a Russian school. The legato touch is made from at least three things, weight lowered from above by the entire hand or a finger, lowering distance and the speed of lowering .
A good pianist knows there is no true legato in piano technique - it is an illusion, and a pianist who can convince the audience otherwise understands how to perpetuate that illusion. It goes far beyond mere technique alone.
I was fascinated and heartbroken by this lecture. He places such great importance to the shoulder and the ability to let it hang freely. I can't since I have a FURS syndrome, and the other shoulder is also damaged. But I didn't play piano my whole life, only the last 8 months. But I learned how to live with my shoulder problems, and to help others with their shoulder problems as I adapted my treatment techniques. The key to that weightlessness of the shoulder is the subscapularis muscle. I have a video with the exercises I gave to my patients, with a major part on the shoulder and arms. Of course since I started out as a Chiropractor, there are exercises to stabilize and strengthen the low back that take 30 seconds a day. But they should be done every day. Oh My Aching Bach th-cam.com/video/tK9sc0ckSpw/w-d-xo.html
Minute 09:39: that's marvelous! This introduction of the Rachmaninov prelude sounds so rich of different colors, deep running and orchestral. This short introduction is on a world class level and indicates a deep deep dive into the art to compose, starting with Haendel, Bach, the Italian composers up to the centuries. And than this fantastic russian approach in composition. Wow! This man is a real true musician and he knows everything about music, literature and arts! Fantastic! That's what we can't see in a large range in the US nor in Europe. this few bars of that Rachmaninov prelude sounds absolutely breathtaking! Thank you so much to this teacher and musician!
Браво!!!! Огромное Вам СПАСИБО за прекрасную лекцию, замечательную игру и Ваши глубокие знания!!! Низкий Вам поклон за русскую школу!!!!
I would like to express my thanks for the English subtitles on this video.
Video highlights:
00:55. Describing the Russian method - not an easy task.
01:28. Let's turn to Russian history: the cultural 'lag' from the 16th-18th centuries, and the remarkable leap from the 19th century.
03:35. What does the term 'Russian Piano School' really mean? Main characteristics: the connection to singing, the melodiousness of sound that comes from Russian songs.
04:14. Piano touch - how is the melodious sound created? The Moscow and St. Petersburg Conservatories founded by the Rubinstein brothers - the cradles of professional musical education.
05:27. How do we make the piano sound SING? The importance of the first piano lessons: how to play the first note (the whole-arm weighted non-legato key attack).
06:11. The importance of weight, whole-arm action, arm/wrist looseness and flexibility for creating a melodious, full sound.
08:46. The deep, 'free-sinking' weighted key attack - essential in playing Rachmaninoff. How to avoid a 'banging' sound.
11:14. Scriabin and the evolution of his style and sound: the church bells and the 'flight'. How do we learn to 'flutter'? The delicate and loose 'caressing' touch.
12:46. The 'falling arm' exercise (learning how to 'disconnect' your arm and make it completely loose) - useful for understanding what weight really is.
13:15. Returning to Scriabin and the 'caressing' touch. The gentle stroke needed for creating an 'evaporating', 'melting' effect. The 'upward' vs 'downward' direction of movement (Scriabin vs Rachmaninoff).
15:18. The way Prokofiev 'burst' into the musical world. The needed touch for playing his works - 'fingers of steel'! The 'hammer-striking' instrument.
19:54. The 'bell-like' sound (introduced by Mussorgsky) - the element that connects all Russian composers. The bell tolls that accompanied a person from birth to death.
23:21. The special pedaling approach needed for creating this 'bell atmosphere'.
24:48. The bells and the 'piano roar' from Mussorgsky's works. The orchestral capabilities of our instrument.
25:49. The bells in Shostakovich's music. Bells, weight, free shoulders and arms - something teachers must 'preach' during every lesson :).
26:48. The same piano can sound absolutely different when played by different people. Emil Gilels's sound and technique.
27:15. Singing at the piano. Weight transfer and the 'hitless' (gradual) touch. Legato - the key to the piano.
29:57. Intonation.
33:12. Legato playing as a deity - the main attitude which distinguishes the Russian school. Differences between the European and Russian piano schools.
35:36. Playing 'without hammers'. There is a bow, and there is singing.
Thank you so much🙏
Bravissimo 👍👏
This is far the most informative, generous and of a high level tutorial on Russian piano technique available on TH-cam. Thanks a lot to Mr. Monastyrski!
Mr. Monastyrski this lecture truly changed my life. The best piano approach i've ever watched, without a hyperbole! Viva to the russian school.
This video is underrated. I had a great time with this, and i am sure you guys will agree that it was provoking and thoughtful.
Of course dude! I absolutely agree!
I am a father and an ametuer pianist, this gives me lots of inspiration, and I would try my best to pass this knowledge down to my children. Thank you Master Vadim
Замечательный урок. Огромное удовольствие. Спасибо.
Thanks a lot. I have no chance before to learn what the Russian school is. It's beautiful.
In 1993 in Oklahoma City I had an Armenian piano teacher who went to the Moscow Conservatory. I feel very lucky to have had lessons with him.
Sir, I agreed with you 100%. I met Vladimir Ashkenazy in Sydney. I have applied "weight"method and discovered lots of speed and relaxation that surpasses finger power only.
In which part he explains this ??
@@alexvallex5487 watch from 9.13 read the English version vs his body movement.
Самое Лучшее объяснение которое я слышал. Всё то что вам кажется правда… Постоянно слушаю вашу лекцию и Вспоминаю своих учителей своего отца.
The greatest, most informative document I have seen on this topic. Profound!
Such an insightful masterclass from Vadim Monastyrski!!! He has given me a wonderful technique for learning how to play the piano. I am deeply indebted to him.
For the first time in my life, I guess I eventually understand what the Russian method relies on. Thank you 🙏
Grazie , grandissimo Maestro. È un onore ascoltarla.
pure gold....thank you
Thanks a LOT,dear Vadim!
The best educational video I've ever seen on youtube on approaching the piano. I will incorporate his technique into my own playing as best I can.
Bravo! In all my activities, whether it be sports, Tai Chi, drawing, piano, my loved ones I always imagine caressing with my whole body. It is the way of life.
This is Deep. Thank you for sharing Maestro!
I came here, and I went loving russian music. What a great video omg
Вадим Наумович, спасибо большое, уникальное видео!
Очень хорошая лекция и прекрасная демонстрация. Спасибо!
A remarkable presentation. Intensely connected : Intelligent words and passionate music "made one" by excellent played examples.
Love your work, Vadim Monastyrski. Thanks.
(MUY GENEROSO, PROFESOR)
VERY GENEROUS PROFESSOR, they already said it, and now I repeat it from the bottom of my heart, thank you for sharing your wisdom.
Замечательно! Такое сублимированное объяснение, и в нём сказано так много.
This lesson has done wonders! I have watched it at least 25 times - and I am still learning something new - incorporating these principles - to great advance.Thank you so much!
Such a great joy to find this video at the beginning of learning to play piano. Thank you for posting this wealth of information for all.
Thank you mr Monastryski. Your video is a revelation and has inspired me beyond words.
Очень интересно! Я всегда восхищаюсь русскими пианистами, русской музыкой для фортепиано. А очень умное замечание к концу урока - и Европейская школа по-своему хороша, а очень благородное пожелание в самом конце - пусть всеми этими ценностями русской школы гордится не только Россия, но и целое человечество. Ну конечно-же! Какая открытость, какая типично русская ширина воззрения! Здорово! Браво! Спасибо за то, как поделились этим видео! С тёплым приветом и наилучшими пожеланиями из Испании.
Gracias mil, excelente maestro, muy carismático, muy didáctico, gracias nuevamente
本当に素晴らしい！お宝映像です
ピアノは奥が深いですね！
理解していきたいと思います
ありがとうございます
Really wonderful lecture, as it shows how some Russians....did not use the technique! Vadim's demonstration of the huge contrasts is outstanding, inspiring. Don't bang...unless it is called for......then....you must, with fingers of steel! To be avoided if possible ;)
Thanks for sharing such a wonderful experience 🌹
Muito bom! Obrigado aqui do Brasil.
Браво миллион раз ........
Absolutely wonderful. I recognize many sounds and body movements that I know from V. Horowitz.
Спасибо! Замечательная, очень информативная лекция!
Outstanding presentation and information. After having had four teachers who taught no expression whatsoever, how I wish this had been available many years ago. Bravo! I am hoping to begin lessons soon with a wonderful artistic instructor who I am sure employs these skills.
Thank you very very much!!!!!!
Great video - many thanks for posting it with English subtitles! I like the distinction Mr. Monastyrski makes between 'tik-tik' and 'tih-dih' - there is such a crucial difference between the two!
Вадим Наумович, очень хочется ещё посмотреть, послушать вас! Как интересно, глубоко. Хочется заниматься и любить музыку, спасибо!
Fantastic! Thank you so much for reminding me this .
Great!
❤❤❤Большое спасибо Thank you very much Merci beaucoup
This lecture is an inspiration.
Obrigado professor. It is a magnífica piano class. Thanks from Brasil
Everything he demonstrated was gorgeous.
Love this teaching….
Fantastico ! Spasiba!!!
Wow. This is stupendous. Now I understand why I love Arthur Rubenstein so much, why his playing is so different, why pianos sound so different with varying players, and why my own piano hasn't yet sung... Many thanks
I wish I could understand Russian. Any english translations of this?
Never mind. English captions included and seem accurate. Thank you!!!!
Fantastic lecture!
Subtitles can be found in many languages - On peut avoir des sous -titres en de nombreuses langues -Субтитры можно найти на многих языках
Просто великолепно!!! Особенно много узнал про педаль, я сам люблю педаль но, здесь ещё смелее)).
Bravo!
This is wonderful! I teach beginning and intermediate piano. I learned piano more than 50 years ago from a concert pianist who was in her 80s. She was a student of the great Artur Schnabel. She taught me to use a "wholistic" approach to playing. She showed me how to use the wrists to keep the hands relaxed and to connect notes. This video goes deeper than what I remember. I greatly admire Russian music and suspect Schnabel may have had Russian influence with his approach to piano technique.
I think Schnabel was a lechetivsky pupil
@@DavidMartinez-rk6fd Thank you. My teacher bragged about the Czerny connection back to Beethoven, but I am really glad to have the Russian background in my training.
Wonderful, can you please write the notes used in exercise at 7:03? thanks.
five step diatonic scales: major, minor and diminished. C D E F G. C D Eb F G. C D Eb. F Gb.
@@BjornHegstad obrigado
Дорогой учитель, мне очень понравились ваши видео, и я хотел бы попросить вас, не могли бы вы предложить мне несколько начальных упражнений, учитывая, что я взрослый новичок, но по этой причине я также архитектор, очень вовлеченный в ваши объяснения о прикосновении к клавише фортепиано. Я думал, что я уважаю написание их на русском языке, но я не буду контролировать то, что я буду писать. Спасибо вам в любом случае за эти прекрасные уроки. с уважением и симпатией Андреа Балсимелли
Hello Mr.Monastyrski, I really enjoy your video. Wish I could have Russian training when I was young. I'm curious if you could talk about how to help students build singing tone from the very early stage of piano learning? Also how to build a strong support of the hand structure in order to free the arms and shoulders?
Wen Zhang ;
Have you seen the piano career academy here on TH-cam? Ilinca Vatic teaches the Russian method.
Hello Wen!
Check our Irina Gorin's TH-cam channel. She is a great piano pedagogue, known for her piano method book called Tales of a Musical Journey. Her method is based on the principles mentioned in the video, but presented in a way that engages young beginners. Ever since I've encountered Irina's teaching, I have changed how I deal with my students and I have seen much improvement in their technique. You could purchase her books at her website: www.irinagorin.com/
All the best!
Ciata
Puede hacer una traduccion en español o frances?. Gracias
Spasiba =D
kind teacher, I really enjoyed your videos and I would like to ask you if you can suggest me some initial exercises considering that I am an adult beginner but for this reason I am also an architect very involved in your explanations about the touch of the piano key. I had thought, I respect writing them in Russian but I wouldn't be in control of what I would write. Thank you anyway for these beautiful lessons. with esteem and sympathy
Andrea Balsimelli
Спасибо!
У нас тут был такой "музыкальный просветитель" Валентин Предлогов, который скончался в 14 году. Он был весьма популярен в интернете. Так вот он и вообще-то не очень жаловал это "русское звукоизвлечение", но особенно напирал на то, что оно оказалось совершенно губительным для восприятия музыки Скрябина. Здесь, говорил Предлогов, нужно играть "не в рояль, а ИЗ рояля". Вдаваться глубоко я здесь не буду, но можно согласиться, что представленное восприятие русской музыки (здесь, в лекции), несколько однобоко. Оно действительно ориентировано на её "рахманиновскую" сторону, но есть и противоположная сторона, скрябинская. Россия соединяет эти противоположные стихии, влажную и огненную, в этом её величие, и этот момент в лекции несколько потерялся.
Спасибо вам за анализ! Но вы невнимательно посмотрели! Я говоря о Скрябине как раз привёл в пример, что наооборот Рахманинскому прикосновению, у Скрябина все парит и требует другого извлечения Из Рояля!!! Посмотрите внимательно а пото послушайте как я играю Скрябина и как я касаюсь рояля! Спасибо!
@@vadimmonastyrski7847 Знаете, я на самом деле уже тогда послушал внимательней и убедился, что у Вас есть понимание проблемы. Но всё-таки при таком вот систематическом рассмотрении как-то хотелось бы большего артикулирования этой противоположности, о которой я написал.
What is the name of the piece at 24:58?
❤❤
One thing I'm confused by: in another lecture from Bennet Lerner (see th-cam.com/video/66RexiP7R-o/w-d-xo.html), he says he had some lessons from Sascha Gorodnitzki, who was taught by Josef Lhevinne (husband of Rosina Lhevinne). He was taught to practice with very high fingers, to the point of pain. This seems contrary to the suggestions here in this video, where fingers are very close to the keyboard. Does the Russian method promote raising fingers?
I'm no expert on the "Russian method" per se, but in Norway most of the brilliant teachers I have encounterd teach by the methods in this video and lifting fingers like you mention is a big no no. I remember seeing a video of Lang Lang where he talks about how to develop a strong technique and he says lifting the fingers high when practising is essential. This is complete bollocs. The playing happens down at the keys, not in the air above. Look at the fingers of pianists like Andsnes and Hamelin. Superb techniques, they don't use more energy than needed for the job. It does not look so flashy when the fingers dont look like spiders on crystal meth, but who cares about that? Lang perhaps? When Hamelin gets critique that it looks to easy when he plays hard stuff is the best compliment about his technique that he could get.
Ruso con subtítulos en japonés , para un poquito!
10:50
Well, well, yes, off course... There were no chopping heads off in Europe... Only in Russia... yeah...
Very interesting. But how does one account for Vladimir Horowitz playing so effectively with flat or straightened fingers?
He was a genius.
А почему же тогда в Санкт Петербурге консерватория называется им.Римского Корсакова а не Антона Рубинштейна ?
Sound Jewish Rubinshtein
🤔наверное,по той же причине,что и в Москве-им.Чайковского,а не Николая Рубинштейна
Хороший вопрос… Да и в Москве консерватория которую основал брат Антона Рубинштейна, Николай Рубинштейн носит имя ПИ Чайковского….
Rimsky Korsakov was a great composer, Rubinstein was not.
А также Римский-Корсаков стал первым профессором консерватории, не имея профессионального образования!
To Efim Boico.
You obviously do not understand the Russian method. It is oh so much more than hand and arm weight and glued to the keys legato. I haven’t heard legato defined as glued to the keys since I was a child with my first teacher. You have a lot to learn.
7:00
Does anyone know where to find the piano exercise demonstrated at 7:03? Thanks
7:10
Unfortunately I cannot see any english subtitles!
I found that subtitles were available on my Windows 10 computer but refused to show on my Windows 7 computer. Perhaps this is your problem?
ΤΗΑΝΚ ΥΟΥ!!!!
Oh! I just discovered there is neither Beethoven nor Chopin...
Is ashkenazy Russian school?
Конечно Ашкенази это русская школа! Выпускник Московской консерватории!!!
7:00 exercise～
One does not hear the poetry of bells in the US. One hears the dirge of machines, automobiles, airplanes, jackhammers, backhoes, sirens, gunfire, and mob riots.
Russian music is constructed from musics of different nationalities. Ukrainian gypsy and many others maybe 20 sounds of different nationalities Jewish included. Do you know why because Rubinstein‘s they were Jewish.
Please take that into consideration who were the players including and gentlemen who posted this video. With great respect Benjamin Perlman.
No such thing as Ukranian gypsy. You don't know what you babbling about. But certainly, many Jewish pianists were educated in Russian school of piano playing and themselves influenced it.
Надо учиться играть не на основе культурных стереотипов, а на основе научных принципов и методов. И у Владимира Горовица техника была Шопена, а не русская.
очень много слова "русская" ))
но все равно спасибо за интересный рассказ.
Ivan Moravec, Friedrich Gulda, Clara Haskil, Dinu Lipatti, Geza Anda, Wilhelm Backhaus, Claudio Arrau, Martha Argerich, Alfred Brendel, Samson Francois, Ingrid Haebler, have nothing to do with this so-called Russian piano School yet they all have the same, if not even more refined incredible sound pallets and glorious singing tone.Anton Rubinstein was a Polish Jew studied with Alexandre Villiong and Nicolai with Kullak, a German. The Russians took and learned everything from the Europeans..The above mentioned pianists achieve the same profound sonorities on the piano with an absolute economy of movement in contrast to the exaggerated movements demonstrated by Mister Monastersky. Btw...his fourth finger is a reason for concern.
Horowitz, Rubenstein 1 and 2, Ashkenazi, Gilels, Kissin, Sokolov, Rachmaninov, Tchaikovsky, Berman, Cherkassky, Richter, Gavrilov have everything to do with Russian school. Your racist attitude is a reason of concern.
@@buxtehude123 racist attitude? my dear friend.You false accustation is THE REAL reason for concern. I merely mentioned facts.You are clearly "behind" and very biased. Your just an ordinary troll.Bye.
Вы знаете,в 90 годы его ученики играли замечательно и когда они играли,он мысленно с ними играл и это было видно насколько он душевный.
BTW, how did it end in Bakhmut?
No hammers!
The enormous and transcendental sound palettes of Michelangeli, Gieseking , all manifested with an absolute economy of movement impress me more than all the blabla in the above video. just listen to Rach. 4 in the hands of Michelangeli..no RUSSIAN EVER came close to the tremendous energy unleashed in this Concerto by ABM. Listen to Alicia de la Rocha in Rach. 3..same same. No Russian pianoschool..on the contrary. Listen to Sergio Fiorentino ,Italian, in the complete Rachmaninov works..no RUSSIAN EVER came close to him. I witnessed ABM en Fiorentino " live"..nothing like it.
Is this a joke, or you ate too much macaroni?
@@buxtehude123 I love pasta. But unlike your abuse of Vodka it does not affect my mind.
Russian piano school does not exist. Russian music yes. Everything comes from inner feeling of being Russian Russian born. And touch also comes from it no matter what you’re going to say is genetic. I love the explanation but I cannot help anybody to play Russian music without being Russian.Vladimir Horowitz used to have a lot of problems trying to explain the phenomenon.
This sounds like recycling of current American WOKE nonsense: l" You can only act Othello if you're black etc
Really? that I know the basis of playing the piano of any school is using the weight of the hand and body to extract the sound. The string does not vibrate otherwise, does not give the true depth and beauty of the sound. This axiom does not belong only to the Russian school.Legato game with glued fingers to the keys?Totally nonsense! it is not a Russian school. The legato touch is made from at least three things, weight lowered from above by the entire hand or a finger, lowering distance and the speed of lowering .
shhhhh
A good pianist knows there is no true legato in piano technique - it is an illusion, and a pianist who can convince the audience otherwise understands how to perpetuate that illusion. It goes far beyond mere technique alone.
@@UdobiMusic No! YOU SHUT UP!
@@thepianocornertpc 2 years too late 😆...you really showed me huh?
@@UdobiMusic Nah. You're still here...got stuck right?😝😝😝😝
I’m not convinced… at all…
no one cares, surely.
Bullshit. Useless stuff.
I was fascinated and heartbroken by this lecture. He places such great importance to the shoulder and the ability to let it hang freely. I can't since I have a FURS syndrome, and the other shoulder is also damaged. But I didn't play piano my whole life, only the last 8 months. But I learned how to live with my shoulder problems, and to help others with their shoulder problems as I adapted my treatment techniques.
The key to that weightlessness of the shoulder is the subscapularis muscle. I have a video with the exercises I gave to my patients, with a major part on the shoulder and arms.
Of course since I started out as a Chiropractor, there are exercises to stabilize and strengthen the low back that take 30 seconds a day. But they should be done every day.
Oh My Aching Bach
th-cam.com/video/tK9sc0ckSpw/w-d-xo.html