Most people dread the idea of playing scales and exercises but they really do speed up the learning process and there's no reason why they can't be fun to play. Download NOW!
One on the (several?) outstanding characteristics on the Beaux Arts Trio, of which Menahem Pressler was founding member and pianist, was the comprehensive breadth of repertoire. Now that the trio has disbanded, Pressler has entered a brand new phase of his career in which he continues to enjoy the diversity of repertoire by other signifies. Those signifies include an annual one-week residency at the San Francisco Conservatory of Music, where he provides a public Master Class and operates with both faculty and students to prepare a plan inside the Chamber Music Masters series. This really is the week within the Conservatory academic year for Pressler's pay a visit to, and his recital took spot final evening within the Caroline H. Hume Concert Hall.
The diversity covered reasonably familiar operates in the eighteenth, nineteenth, and twentieth century. The 1 weakness occurred at the beginning of the evening with all the eighteenth-century supplying, Wolfgang Amadeus Mozart's second piano quartet in E-flat key, K. 493. Getting had the opportunity to observe Pressler in each a wide variety of recitals and numerous years' worth of Conservatory events, which includes many of the Master Classes, I have come towards the conclusion that the eighteenth century is his least comfy element. Last February I was even bold adequate to suggest that he may have missed the point of a Joseph Haydn piano trio he was coaching in the Conservatory. The dilemma then surfaced once again last evening and essentially involved giving an excessive amount of priority to the piano.
The result was the kind of discontinuity that is much more evident in chamber music than in an orchestral setting. We had a string trio of students, amongst whom there have been rich channels of communication as well as a keen sense of balance (even if the violin was somewhat on the weak side); and then there was Pressler in the piano. For all of visual signs of attentiveness, it felt as if he was playing within a world aside from the students. As a result, the quartet fractured into a trio as well as a piano solo; and the spirit from the intimate conversations of chamber music was lost.
Once the plan moved on in the eighteenth century, Pressler seemed to become on a lot more secure ground; and it may also be that he was much more comfortable performing with faculty members. The Mozart quartet was followed by Claude Debussy's 1915 cello sonata with cellist Jean-Michel Fonteneau. This previous September the prodigious fifteen-year-old Tessa Seymour performed this sonata within a Noontime Concerts™ recital at Old St. Mary's Cathedral; and she happens to become one particular of Fonteneau's students. Last evening thus offered an opportunity to compare her voice with that of her teacher. This particular sonata provides an excellent point of comparison, since it is each highly cerebral and intensely emotional. It was the one particular portion of Seymour's recital in which I saw a spontaneous physical gesture interrupt her highly focused concentration. Fonteneau's gestures were considerably far more under control, resulting inside a somewhat higher level of precision that facilitates listening to a composition in which even the slightest in the auxiliary notes contribute towards the expressiveness of the whole. In this respect Pressler was an idea partner, bringing that same sense of both the entirety and also the richness of every detail to complement Fonteneau's conception on the solo voice. As a student, Seymour is clearly in good hands with Fonteneau. As the master, Fonteneau has considerably to offer to not only his students but these of us who can only appreciate him from the audience side in the hall.
Following the intermission, the system reverted for the nineteenth century plus a composer for which Pressler has always had great affinity, Antonín Dvorák. The work offered was his Opus 87 piano quartet in E-flat key, which Pressler performed with violinist Axel Strauss, violist Paul Hersh, and cellist Michelle Kwon. Kwon was the only student member from the ensemble; but she is already building up an impressive resume of professional appearances (one particular of which will be tonight with the Picasso Quartet). Thus, while she might have been the "junior member" in the team, she was definitely holding her own inside a conversation amongst equals. This was particularly important since the nineteenth-century tradition of highlighting the slow movement with a rich cello passage was clearly operative in this particular composition; and Kwon has cultivated an impressive track record of performances of such passages. Most important, however, was that the entire ensemble was united in an integrated approach for the journey through the four movements of this quartet, in the opening Allegro con fuoco gesture (with particular emphasis on the "fuoco") for the three massive forzando chords that close off the Finale. This highlighted both the energetic and introspective sides of Dvorák's character with stimulating effect, leaving any weaknesses within the eighteenth century as a distant memory in the end in the evening.
The diversity covered reasonably familiar operates in the eighteenth, nineteenth, and twentieth century. The 1 weakness occurred at the beginning of the evening with all the eighteenth-century supplying, Wolfgang Amadeus Mozart's second piano quartet in E-flat key, K. 493. Getting had the opportunity to observe Pressler in each a wide variety of recitals and numerous years' worth of Conservatory events, which includes many of the Master Classes, I have come towards the conclusion that the eighteenth century is his least comfy element. Last February I was even bold adequate to suggest that he may have missed the point of a Joseph Haydn piano trio he was coaching in the Conservatory. The dilemma then surfaced once again last evening and essentially involved giving an excessive amount of priority to the piano.
The result was the kind of discontinuity that is much more evident in chamber music than in an orchestral setting. We had a string trio of students, amongst whom there have been rich channels of communication as well as a keen sense of balance (even if the violin was somewhat on the weak side); and then there was Pressler in the piano. For all of visual signs of attentiveness, it felt as if he was playing within a world aside from the students. As a result, the quartet fractured into a trio as well as a piano solo; and the spirit from the intimate conversations of chamber music was lost.
Once the plan moved on in the eighteenth century, Pressler seemed to become on a lot more secure ground; and it may also be that he was much more comfortable performing with faculty members. The Mozart quartet was followed by Claude Debussy's 1915 cello sonata with cellist Jean-Michel Fonteneau. This previous September the prodigious fifteen-year-old Tessa Seymour performed this sonata within a Noontime Concerts™ recital at Old St. Mary's Cathedral; and she happens to become one particular of Fonteneau's students. Last evening thus offered an opportunity to compare her voice with that of her teacher. This particular sonata provides an excellent point of comparison, since it is each highly cerebral and intensely emotional. It was the one particular portion of Seymour's recital in which I saw a spontaneous physical gesture interrupt her highly focused concentration. Fonteneau's gestures were considerably far more under control, resulting inside a somewhat higher level of precision that facilitates listening to a composition in which even the slightest in the auxiliary notes contribute towards the expressiveness of the whole. In this respect Pressler was an idea partner, bringing that same sense of both the entirety and also the richness of every detail to complement Fonteneau's conception on the solo voice. As a student, Seymour is clearly in good hands with Fonteneau. As the master, Fonteneau has considerably to offer to not only his students but these of us who can only appreciate him from the audience side in the hall.
Following the intermission, the system reverted for the nineteenth century plus a composer for which Pressler has always had great affinity, Antonín Dvorák. The work offered was his Opus 87 piano quartet in E-flat key, which Pressler performed with violinist Axel Strauss, violist Paul Hersh, and cellist Michelle Kwon. Kwon was the only student member from the ensemble; but she is already building up an impressive resume of professional appearances (one particular of which will be tonight with the Picasso Quartet). Thus, while she might have been the "junior member" in the team, she was definitely holding her own inside a conversation amongst equals. This was particularly important since the nineteenth-century tradition of highlighting the slow movement with a rich cello passage was clearly operative in this particular composition; and Kwon has cultivated an impressive track record of performances of such passages. Most important, however, was that the entire ensemble was united in an integrated approach for the journey through the four movements of this quartet, in the opening Allegro con fuoco gesture (with particular emphasis on the "fuoco") for the three massive forzando chords that close off the Finale. This highlighted both the energetic and introspective sides of Dvorák's character with stimulating effect, leaving any weaknesses within the eighteenth century as a distant memory in the end in the evening.
Are you Prepared to Play Your Piano?
Much more musicians, vocalists and composers are proficient in the piano as opposed to other instruments possibly as a result of its versatility in musical context and its function in musical notation. The piano is certainly a popular decision of instrument for enhancing one's musical understanding and pursuing a musical profession.
Pianos, however, are costly and inconvenient for many because of their heavy and massive size, but there are options like keyboards and electronic pianos.
Should you already possess a piano, it's a good thought to utilize it, rather than let it develop dusty as a show inside your property. In the event you do not possess a piano at property and also you program to get a single, it's sensible to study first which style of piano suits you best. Do a survey of distinct models to decide which kind of piano would match your requirements as well as your economic circumstance.
Novices would possibly possess a difficult time playing music with their pianos. Many people who play the piano had an individual teach them the talent, even though some extraordinary men and women could have learned by means of self study and continuous practice.
Should you be not a single on the prodigies, obtaining a superb piano teacher is essential. It really is an investment to pay for any piano however it can be a higher venture to spend for a brilliant piano teacher who would guide you.
Now which you acquired a piano along with a teacher, the subsequent thing you'd need is your readiness to play. Do not be discouraged in the event you can't make music yet-- be relaxed, shed the tension and go using the flow as your fingers run along your piano keyboard. Touching the keys gently will loosen up your fingers, and sitting with correct posture in front of the piano will support enhance your confidence as should you be a Beethoven playing on stage.
Also, commence playing with a piece that you like, a song or even a tune that you simply take pleasure in hearing, and that may add enjoyable and enjoyment for your piano playing. Remember that music is in the ears of he who hears it.
Much more musicians, vocalists and composers are proficient in the piano as opposed to other instruments possibly as a result of its versatility in musical context and its function in musical notation. The piano is certainly a popular decision of instrument for enhancing one's musical understanding and pursuing a musical profession.
Pianos, however, are costly and inconvenient for many because of their heavy and massive size, but there are options like keyboards and electronic pianos.
Should you already possess a piano, it's a good thought to utilize it, rather than let it develop dusty as a show inside your property. In the event you do not possess a piano at property and also you program to get a single, it's sensible to study first which style of piano suits you best. Do a survey of distinct models to decide which kind of piano would match your requirements as well as your economic circumstance.
Novices would possibly possess a difficult time playing music with their pianos. Many people who play the piano had an individual teach them the talent, even though some extraordinary men and women could have learned by means of self study and continuous practice.
Should you be not a single on the prodigies, obtaining a superb piano teacher is essential. It really is an investment to pay for any piano however it can be a higher venture to spend for a brilliant piano teacher who would guide you.
Now which you acquired a piano along with a teacher, the subsequent thing you'd need is your readiness to play. Do not be discouraged in the event you can't make music yet-- be relaxed, shed the tension and go using the flow as your fingers run along your piano keyboard. Touching the keys gently will loosen up your fingers, and sitting with correct posture in front of the piano will support enhance your confidence as should you be a Beethoven playing on stage.
Also, commence playing with a piece that you like, a song or even a tune that you simply take pleasure in hearing, and that may add enjoyable and enjoyment for your piano playing. Remember that music is in the ears of he who hears it.
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