Book 7 expands on some of the blues piano techniques you learned earlier. Download NOW!
1 of the (numerous?) outstanding attributes of the Beaux Arts Trio, of which Menahem Pressler was founding member and pianist, was the substantial breadth of repertoire. Now that the trio has disbanded, Pressler has entered a new phase of his profession in which he continues to appreciate the diversity of repertoire by other signifies. Those implies consist of an annual one-week residency at the San Francisco Conservatory of Music, exactly where he offers a public Master Class and performs with both faculty and students to prepare a program inside the Chamber Music Masters series. This is the week within the Conservatory academic year for Pressler's check out, and his recital took place last night in the Caroline H. Hume Concert Hall.
The diversity covered fairly familiar operates from the eighteenth, nineteenth, and twentieth century. The 1 weakness occurred in the starting in the evening together with the eighteenth-century supplying, Wolfgang Amadeus Mozart's second piano quartet in E-flat significant, K. 493. Obtaining had the opportunity to observe Pressler in each a wide number of recitals and a number of years' worth of Conservatory events, like several of the Master Classes, I have come to the conclusion that the eighteenth century is his least comfy element. Last February I was even bold sufficient to recommend that he may have missed the point of a Joseph Haydn piano trio he was coaching in the Conservatory. The problem then surfaced once again last night and essentially involved providing an excessive amount of priority for the piano.
The outcome was the sort of discontinuity that's more evident in chamber music than in an orchestral setting. We had a string trio of students, among whom there had been wealthy channels of communication as well as a keen sense of balance (even when the violin was somewhat around the weak side); then there was Pressler at the piano. For all of visual indicators of attentiveness, it felt as if he was playing in a globe apart from the students. Because of this, the quartet fractured into a trio along with a piano solo; along with the spirit of the intimate conversations of chamber music was lost.
After the system moved on in the eighteenth century, Pressler seemed to become on more secure ground; and it may also be that he was a lot 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 in a Noontime Concerts™ recital at Old St. Mary's Cathedral; and she happens to be one of Fonteneau's students. Final 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 portion of Seymour's recital in which I saw a spontaneous physical gesture interrupt her highly focused concentration. Fonteneau's gestures were much far more under control, resulting in a somewhat higher level of precision that facilitates listening to a composition in which even the slightest from the auxiliary notes contribute towards the expressiveness of the whole. In this respect Pressler was an idea partner, bringing that same sense of each the entirety and the richness of every detail to complement Fonteneau's conception from 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 of the hall.
Following the intermission, the system reverted to the nineteenth century and a composer for which Pressler has always had great affinity, Antonín Dvorák. The work offered was his Opus 87 piano quartet in E-flat significant, which Pressler performed with violinist Axel Strauss, violist Paul Hersh, and cellist Michelle Kwon. Kwon was the only student member on the ensemble; but she is already building up an impressive resume of professional appearances (one of which will be tonight with all the Picasso Quartet). Thus, while she might have been the "junior member" from the team, she was definitely holding her own within a conversation amongst equals. This was particularly important since the nineteenth-century tradition of highlighting the slow movement with a wealthy 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 towards the journey through the four movements of this quartet, in the opening Allegro con fuoco gesture (with particular emphasis on the "fuoco") to 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 fairly familiar operates from the eighteenth, nineteenth, and twentieth century. The 1 weakness occurred in the starting in the evening together with the eighteenth-century supplying, Wolfgang Amadeus Mozart's second piano quartet in E-flat significant, K. 493. Obtaining had the opportunity to observe Pressler in each a wide number of recitals and a number of years' worth of Conservatory events, like several of the Master Classes, I have come to the conclusion that the eighteenth century is his least comfy element. Last February I was even bold sufficient to recommend that he may have missed the point of a Joseph Haydn piano trio he was coaching in the Conservatory. The problem then surfaced once again last night and essentially involved providing an excessive amount of priority for the piano.
The outcome was the sort of discontinuity that's more evident in chamber music than in an orchestral setting. We had a string trio of students, among whom there had been wealthy channels of communication as well as a keen sense of balance (even when the violin was somewhat around the weak side); then there was Pressler at the piano. For all of visual indicators of attentiveness, it felt as if he was playing in a globe apart from the students. Because of this, the quartet fractured into a trio along with a piano solo; along with the spirit of the intimate conversations of chamber music was lost.
After the system moved on in the eighteenth century, Pressler seemed to become on more secure ground; and it may also be that he was a lot 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 in a Noontime Concerts™ recital at Old St. Mary's Cathedral; and she happens to be one of Fonteneau's students. Final 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 portion of Seymour's recital in which I saw a spontaneous physical gesture interrupt her highly focused concentration. Fonteneau's gestures were much far more under control, resulting in a somewhat higher level of precision that facilitates listening to a composition in which even the slightest from the auxiliary notes contribute towards the expressiveness of the whole. In this respect Pressler was an idea partner, bringing that same sense of each the entirety and the richness of every detail to complement Fonteneau's conception from 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 of the hall.
Following the intermission, the system reverted to the nineteenth century and a composer for which Pressler has always had great affinity, Antonín Dvorák. The work offered was his Opus 87 piano quartet in E-flat significant, which Pressler performed with violinist Axel Strauss, violist Paul Hersh, and cellist Michelle Kwon. Kwon was the only student member on the ensemble; but she is already building up an impressive resume of professional appearances (one of which will be tonight with all the Picasso Quartet). Thus, while she might have been the "junior member" from the team, she was definitely holding her own within a conversation amongst equals. This was particularly important since the nineteenth-century tradition of highlighting the slow movement with a wealthy 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 towards the journey through the four movements of this quartet, in the opening Allegro con fuoco gesture (with particular emphasis on the "fuoco") to 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.
Typing Mistakes & Tips to improve
Blunders happen quickly on the computer keyboard. Because of its sensitivity, the keyboard offers both challenges and rewards. Those rewards come after a bit of practice and study to take advantage of what the keyboard gives you. Mostly those advantages will be learned through practice and additional instruction. At this point we just touch some basic points. Here are some tips to make life simpler, and your work more efficient.
Hold your hand with your thumb on the space bar, first finger on the "F" (left-hand) and "J" (right-hand). Then let your fingers naturally fall so that each rests on top of the next key along the same horizontal row.
As you type, don't hold down the key after you depress it. If you do keep your finger depressed on a particular key, it will keep sending the computer commands. In this case it will be sending specific commands to repeat itself. So your result will be a string of unwanted characters displayed onscreen.
Understanding the keyboard also means learning the special functions of certain keys. On the computer keyboard you often use two or more keys at the same time, indicated by the "+" sign. For example in managing applications you wil learn that "Ctrl + Alt + Delete" is a decision of last resort. You depress these three keys simultaneously when you just want to get out of whatever muddle that the computer has left you with.
You will see a key marked "Ctrl" This key helps you give the computer commands in combination with other keys (such as Ctrl+P to print a document in many programs). Holding down the shift key causes the keyboard to print either the upper case of an alphabetic character or the top character if two are displayed on the individual key.
The tilde (pronounced "till-deh") character is in the upper left-hand portion of your keyboard. You will sometimes see it as part of a web address (www.abc.com/~board) to indicate that one site is piggybacking on another.
For more information on typing, , touch typing software,, visit -
Blunders happen quickly on the computer keyboard. Because of its sensitivity, the keyboard offers both challenges and rewards. Those rewards come after a bit of practice and study to take advantage of what the keyboard gives you. Mostly those advantages will be learned through practice and additional instruction. At this point we just touch some basic points. Here are some tips to make life simpler, and your work more efficient.
Hold your hand with your thumb on the space bar, first finger on the "F" (left-hand) and "J" (right-hand). Then let your fingers naturally fall so that each rests on top of the next key along the same horizontal row.
As you type, don't hold down the key after you depress it. If you do keep your finger depressed on a particular key, it will keep sending the computer commands. In this case it will be sending specific commands to repeat itself. So your result will be a string of unwanted characters displayed onscreen.
Understanding the keyboard also means learning the special functions of certain keys. On the computer keyboard you often use two or more keys at the same time, indicated by the "+" sign. For example in managing applications you wil learn that "Ctrl + Alt + Delete" is a decision of last resort. You depress these three keys simultaneously when you just want to get out of whatever muddle that the computer has left you with.
You will see a key marked "Ctrl" This key helps you give the computer commands in combination with other keys (such as Ctrl+P to print a document in many programs). Holding down the shift key causes the keyboard to print either the upper case of an alphabetic character or the top character if two are displayed on the individual key.
The tilde (pronounced "till-deh") character is in the upper left-hand portion of your keyboard. You will sometimes see it as part of a web address (www.abc.com/~board) to indicate that one site is piggybacking on another.
For more information on typing, , touch typing software,, visit -
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