Chopin, Frostbite, his Nose

"Fraulein Heinefetter is almost completely lacking in feeling; everything sung well, every note accurately performed; purity, flexibility, portamenta; but so cold that I almost got frostbite on my nose, sitting in the front row near the stage".
Chopin, letter to Jan Matuszynski, 26 Dec 1830 (p130, Dover Edition, Chopin's Letters)

Ha! Luckily, this would not happen had Chopin had the pleasure to listen to the legendary pianist Samson Francois (1924-1970).

In this video clip, he is shown with habitual cigarette in hand, at first in rehearsal and then in concert. The attentive piano student will admire the way in which the back of his hand is kept "light as a feather", with his fingers dropping down without effort to the keys. The arms are in constant movement to carry the hands above the notes, with fluidity. (Some resemblance to the technique of Sergio Fiorentino, and indeed Francois studied in Italy for a time). The technical ease enables the spontaneous flow of emotions and of the music, giving overall a warm and fluid impression.
"Music is for me a quest, something mysterious", says Francois. Chopin would definitely have agreed!

 

Ignaz Friedman (above) gave some valuable advice to Australian pianist Mack JOst:

"The way you create it is to hear the sound in the heavens, then try to reproduce it in your arm. The only way is to free them [the arms], and I can always remember him saying 'draw out the sound on the last one... think of drawing out the tone.' Not hitting the key. You're really thinking of hauling it out."

Rosina Lhevinne

Just heard a great story from my friend Professor Lynn Raley. The illustrious grande dame of pianists, Rosina Lhevinne (teacher of Van Cliburn and wife of pianist Josef Lhevinne), was due to perform Chopin E minor concerto at the tender age of 82. She was asked by an interviewer on radio how she went about preparing for public performance at her advanced age. In a high pitched Russian accent she replied: Well young man what I do is to dim the lights, close the door, and lie on my couch, with my music score on my lap, and then, very slowly and deliberately, I finger my passages.

wouldn't wish to change a note

Here is a trio of classical music performances that really capture the different moods of relationships just right. As Moriz Rosenthal said, "it's not servants of art we need, it's masters!" and these are all masterful interpreters.

For Russian singing these days you can't beat Anna Netrebko, in Rachmaninoff she is superb, also in Rimsky Korsakov; if this doesn't remind of your passsionate first love... as Anna de Noailles wrote, music promises more than love...

As for Rachmaninoff's friend Chaliapin, you can't beat this performance of Glinka for conveying the paranoid mood of the song to perfection, this really makes the hairs stand up on the back of your neck.

But if it's vocal style of piano playing you are looking for, Shura Cherkassky is your man, as in this setting of a Tchaikovsky Lullaby, transcribed by Pabst. When Cherkassky was asked what he had learnt from his legendary teacher Hofmann, he replied: "Pedalling, dynamics, general vibration". Well, his general vibration is sounding pretty darned good!

Cortot on the effects of hearing his teacher's playing

The young Cortot wrote of Risler's playing:

"I immediately felt myself engulfed by the music; it was not just a matter of what

he was playing, but also his charm, his faculty to reveal - to communicate the

incommunicable. His unique way of making music overwhelmed me, it entered into

me, into my very flesh. Risler presented to me a magical world, which previously I

had only known as an onlooker. He opened my soul to the appreciation of a music

that was born of spontaneous inspiration. His feeling for orchestral colour was

something that I had never associated with the piano. From that moment I

understood how the vocation of the interpreter could transcend the metier of the

pianist, I knew... I could see... I believed, and I was clear in my vision."

 Well, through the miracles of YouTube, here's Risler himself performing Beethoven.

 

Great sense of rhythm! Goldenweiser and Ginzburg.

Rhythm is elusive. If you play just like a metronome it can sound just like a robot.
Rhythm should have a lusty sense of vitality, like a horse breathing, in a positive sense!

The best two pianists for rhythm that I have heard in recording are Rachmaninoff and Percy Grainger. The two have some genealogy in common: despite living half-way round the world from each other, they had related teachers (in Russia and Australia respectively)  brothers Pavel and Louis Pabst. Here is a two-piano piece by Rachmaninoff, dedicated to Goldenweiser, and performed by Goldenweiser with the astonishing pianist's pianist Grigory Ginzburg.
If you find your finger or toe tapping along, conducting in time with the music, you know that the performers can indeed say "I got rhythm!"

PS aficianados will find great interest in this interview with Ginzburg tucked away in the internet...
 interview with ginzburg.pdf

Best YouTube piano videos clips part 1

Listening homework for my advanced piano pupils, Abhinav, Mike, Emmy, Maya

 Please set aside minimum 10-15 minutes per week to listen to great pianists.

Gradually you will get to know your favourite composers and performers, and so then you can explore them more. 
Please notice
+ horizontal forearm and flattish fingertips.
+ freedom of upper arm and forearm, while fingers stay close to keys.
+ upper arm and back muscles used when playing loudly (sitting not crouched over, not hunched)
+ Very intense concentration
+ very intense emotional expression

The Greatest Piano video of all time
Josef Hofmann plays Rachmaninov
Rounded movements. Beautiful hands. Inside the music.

Daniil Trifonov chopin scherzo 4
(slightly distracting facial expressions?!) Try and get tickets to see him sometime
in London in 2013. Possibly best young pianist alive (apart from my pupils!)

Ivo Pogorelich Chopin sonata 2 movt 1
If only I could copy his hairstyle! One of the most original pianists alive.

Gilels plays Rachmaninoff
Long pedals. Jumps around very fast and accurately!

Horowitz chopin ballade 1
Perhaps the greatest pianist of 20th century.
He makes you listen very carefully. Great concentration.
Unusually flat hands, much less curvy then almost everyone else! Expressive fingertips.

Mike and Abhinav

Zimerman Pathetique sonata Beethoven

Should we play the piano strictly in time?

 

Liszt 'Au bord d'une source' played by Eugen d'Albert

Should we play the piano strictly in time? Not according to contemporaries of Beethoven and Liszt. This is what von Bulow writes. He was a concert pianist celebrated in USA and Europe; married to Liszt' s daughter, was considered one of the leading piano pupils of Liszt.

"The time (tempo) should not be a tyrannically restraining or driving mill-hammer, but should be to the musical composition what pulsation is to human life. There is no slow  tempo in which places do not occur requiring a more rapid movement, in order to avoid the feeling of dragging, just as there is no presto that does not, on the contrary, demand in many places a quiet delivery, in order not to take away, through over-haste, the means of expression. Both however, the accelerando as well as the ritardando, must never give the impression of being pushed, jerked or forced: it must always only be employed by the periods and phrases". [from Bulow's influential edition of  Beethoven Piano Sonata Op 110, movement 1.]

On a slightly different tack, William Blake writes: "Improvement makes strait roads; but the crooked roads without Improvement are roads of Genius".  (Proverb of Hell).  

Why has so much piano playing become boring lately? Because students are trained to pass their exams and win competitions, which is different from playing the piano in order to express what the composer wants to express.  In order to pass an exam you can play correctly: in order to express deep emotions, you have to abandon yourself, to some extent, to the emotion, which results in slight distortions of pulse - playing 'between the notes'. 

Please enjoy listening to the fluid, flexible, outpouring of watery notes performed by another pupil of Liszt, d'Albert who shows us how to play the piano. If you as the listener are not breathing more deeply by the end of the performance, please ring your doctor!

 

 

Vasily Safonoff

I love researching piano music at London's British Library!
There is a really good atmosphere among the researchers of all ages, plus the cafe does the most enormous pear and chocolate muffins!
I was curious to learn more about the Russian pedagogue Safonoff - I remember one of my teachers Yonty Solomon mentioning him. Here's a helpful quote from a 1915 book of his.


 "A chord must never be be prepared in a stiff position, for then the sound becomes hard and wooden. The chord must, so to speak, be hidden in the closed hand, which opens, in falling from above for the necessary position, just at the moment of striking the keyboard. This means that the chord must be ready in the thought of the player before the hand opens. This was the secret of the incomparable beauty of sound in the chords of Anton Rubinstein whose playing the author of this book had the good fortune to watch closely for many years."






p 27 Vasily Safonoff
New Formula for the Piano Teacher and Piano Student
pub Chester , London 1915

Recent repertoire discoveries

One of the great things about playing and teaching piano is the enormous repertoire that is out there just waiting to be discovered. Several centuries of music, with every piece and every composer telling a story.

Take the Russian composer Alabiev, for example. Born into a wealthy family in Siberia in 1787, he fought as an officer in the Napoleonic wars.  Aged 38 he was arrested on the charge of murdering a man he had gambled with. Though the evidence was not conclusive he was imprisoned for 6 years, during which time he composed this song "Solovey' (Nightingale).

The song eventually became so famous that it entered mainstream Russian consciousness as a folk song. (somewhat the reverse of the Bartok effect where folk music entered the classical repertoire).

Here's a wonderful performance of Liszt's transcription of Alabiev's "The Nightingale" performed by Ignaz Friedman

And here's a Glinka variation on Alabiev's  Nightingale performed by a 12-year old wunderkind from Russia, Syuzanna Rudanovskaya who demonstrates for us how to play the piano.

Alabiev's  "Nightingale" makes a fabulous addition to the bird repertoire within piano music, along with Janacek: The Barn Owl has not Flown Away; Balakirev's The Lark; Schumann The Prophet Bird, etc etc.

Anton Rubinstein

A transcription of words by (possibly) the greatest pianist after Liszt:
"the purpose of art is to uplift and spiritualise, not necessarily to entertain... art is aristocratic, not democratic... music demands a consecration, a cultus in the temple to which only the initiated are admitted: she demands to be the chosen of the elect, to possess somewhat of the mysterious".
Rubinstein demanded that pupils learn to sing, for without an understanding of breathing and phrasing, piano playing degenerates into mere fingerwork.

acknowledgements to Larry Sitsky, "Anton Rubinstein" pp18-22

Wonderful Brazilian Pianist

Guiomar Novaes (1895 - 1979) was considered the finest lady pianist of her day, and every bit the equal of Hofmann and Rachmaninoff. She was "A musician by the grace of God" according to the New York Times.

Just listen to a minute or two and you will become converted to the warm charms of this veritable Queen of piano playing, who sprinkles gold dust with every note.

Enjoy!

(for more information about this remarkable pianist click here)



Standchen, song by Strauss, transcribed for piano by Godowsky
(another version exists transcribed by Walter Gieseking)
"Sit down! The darkness is mysterious here / Under the lime trees"

Albeniz Tango, transcirbed by Godowsky

Sofronitsky and Rachmaninoff

I cannot resist sharing more comments by these wonderful artists about the nature of musical inspiration and soufulness:

First of all, a performance requires a will. A will- meaning to want a lot, to want more than you have now, more than you can give. For me the entire effort is strengthening the will. Here is all: rhythm, sound, emotion. Rhythm should be soulful. The whole piece should live, breathe, move as protoplasm. I play-and one part is alive, full of breath, and another part nearby may be dead because the live rhythmic flow is broken. Rachmaninoff, for instance, could create a rhythmic pulse that was unfailingly alive. He had the enormous artistic will of a genius. He had a greater will than any of the modern pianists. The same with Anton Rubinstein... [who] had an enormous will for hearing, for rhythmic life. And another point, most important: the more emotionally you play, the better, but this emotionality should be hidden, hidden as in a shell. When I come on stage now, I have «seven shells» under my tuxedo, and despite this I feel naked. So, I need fourteen shells. I have to wish to play so well, live so fully, as to die and still feel as if I have not played. I have nothing to do with this.

http://www.sofronitsky.com/publications/publication-03.html

Rachmaninoff said:
"Real inspiration must come from within: nothing from outside can help. The best in poetry, the greatest of painting, the sublimest of nature cannot produce any worthwhile result if the divine spark of creative faculty is lacking within the artist….
[the listener] should] “paint for themselves what the music most suggests"

Inspiration.

This Monday I had the pleasure of enjoying a drink with my daughter Poppy on a red double decker bus, which has been converted into a vegan restaurant, situated on Brewer Street, Soho. This is very handy for my partner Jo-chieh to buy Japanese noodles at the store down the road.
Meanwhile at the British Library that day I came across some very interesting comments about inspiration by Plato:
"The muse inspires men herself, and then by means of these inspired persons the inspiration spreads to others... For not by art do they utter these things, but by divine influence... the poets are merely the interpreters of the gods."
Beethoven echoes this when he says: "A Rhythm of the spirit is needed to grasp the essence of music... What we attain from art comes from God... Music grants us inspiration of celestial sciences, and that part of it which the mind grasps through the senses is the embodiment of mental cognition".
Relating this to pianists, Schnabel writes: "Creativity is inspiration filtered by artistic conscience". Rachmaninoff too favoured an element of discrimination in his music making, as opposed to the musician delivering him or herself entirely to the wildness of the moment.
Should pianists be totally wild and inspired (like Nyireghazy), or cool and controlled (like Michelangeli), or wild in a calculating way (like Horowitz)? Or simply divine like Dinu Lipatti? Here's what mysterious Sofronitsky had to say (www.sofronitsky.com) :
" the more emotionally you play, the better, but this emotionality should be hidden, hidden as in a shell. When I come on stage now, I have «seven shells» under my tuxedo, and despite this I feel naked. So, I need fourteen shells. I have to wish to play so well, live so fully, as to die and still feel as if I have not played."

Solomon

On Mondays I often visit the National Sound Archive at the British Library in London. It's a great resource for pianophiles! You can listen to such an array of great performances from the past. Also you can consult books from their archive of literally millions of books. I had a look at Solo, a Biography of Solomon Cutner, perhaps the greatest British pianist of the 20th century. Solomon's first teacher was a pupil of Clara Schumann, and his next teacher a pupil of Leschetizky. Solomon wrote:
In teaching technic, I avoid excessively high finger action. Some teachers make so much of the up-motion: I make more of the down. The first aim is to teach a pure legato. Many think they are playing legato when they are not. And no doubt the effort to lift the fingers high is the cause of much of the strain that prevents a pure legato... (p151, Solo, by Bryan Crimp).
And what a peerless pearly legato his playing has!

Another matchless legato I admired this week is a rare recording from the BBC archive of Dinu Lipatti playing Liszt's La Leggierezza. Wow! It reminds me of Mozart's dictum: 'the notes should flow like oil'...

PIano Playing Awards 2009

Piano music is " An international language that every nation knows and feels. Schumann calls it the language of soul to soul"
(Simon Barere, radio interview, New Zealand, 1947).
Here are a few highlights for you to enjoy. In the next couple of months I will turn this into a competition for you to vote on your favourite item in different categories.

Best Composer's Piano Playing

First Prize: The Master of Twentieth Century Piano Playing
Rachmaninoff performs his own Elegie Op3:3. Genius Comes Into Your Living Room

Grieg plays his own PIano Sonata. Such naturalness of heartfelt expression, such alive phrasing.

Best Live Performance
Josef Hofmann, Chopin G Minor Ballade, Carnegie Hall 50th Birthday recital.
"There is a technique which liberates and a technique which represses the artistic self. All technique should be a means of expression". (Hofmann, "Piano Playing' 1909, publ. Doubleday).

Best piano playing
Vladimir Sofronitzky plays Scriabin. Married to the daughter of Scriabin after the composer's death. It sounds as if the music is being revealed for the first time, spun out by some mysterious alchemy.

Best transcription performance, three entries:
Josef Lhevinne plays Schulz-Evler's transciption of Strauss's Blue Danube Waltz. Such flawless and musical virtuosity. Those who claim the modern pianist is superior technically to the golden age pianists should study Josef Lhevinne.

Myra Hess plays Bach
A world war 2 legend: while england was at war, London's cultural activity immediately ceased; but pianist Myra Hess persuaded the National Gallery to open its doors to allow weekly lunchtime recitals of music.

Percy Grainger plays Tchaikovksy "Sugar plum fairy". Wonderful playing from the pianist beloved by Grieg.
When on tour, he used to jog from one american city to the next. Didn't he even care about air miles?

How to Play the Piano
Such freedom of the upper arm! Such naturalness! Such breath! Such lovely printed fabric! We bow.
Magda Tagliaferro Saint Saens Concerto 5

Most disturbing recorded fragment
Bela Bartok playing Chopin Nocturne in C sharp minor
Did a minor key ever sound this spooky? Did the bogeyman abduct the musician?

Loveliest tone award: after 0.50.
Alexander Siloti's was a favourite pupil of Liszt. Some said he was more than equal to the great Rachmaninoff, and this playing has such a warm, living tone, like the golden voice of a tenor, characteristic of the finest Russian-school pianism.

Erwin Nyiereghazy (at 6.53) Liszt Legend 2. I believe this is how Liszt himself performed - free, full of imagination, wild, strong, passionate, individual, spiritual, heartfelt, with never a care for the judgemental bourgeoisie.

Best virtuoso playing: (three contestants)
Alfred Cortot playing Saint-Saens Etude en forme de Valse
Horowitz went to him for a lesson but Cortot would not reveal the secrets of his lightness within power!

Ignaz Friedman playing Chopin Etude in C at 3.05

Dinu Lipatti making light work of Liszt

Best Chopin Nocturne
Moriz Rosenthal Chopin D flat major. Rosenthal studied with Liszt AND with a favourite pupil of Chopin's; so his style deserves to be treated with the greatest respect, even though it may appear too personal for the modern ear.
Ideal for the moonlit reverie with your beloved (and/or hot water bottle).

Best Folk-Style Playing
Ignaz Friedman Chopin Mazurka
Such rhythm and mood! Spot on! 100%. Now if this spirit and lifetime's learning could be sold in a bottle...

Bela Bartok plays his own Rumanian Folk Dances
How wonderful! How humble! How truly civilised! Such musical phrasing! Bravo Hungary! (And Rumania).

Best 2-piano Playing: Arensky, Waltz from Suite, played by Harold Bauer and Ossip Gabrilowitsch. Wow! Did you know that Ravel dedicated Ondine from Gaspard de la Nuit to Harold Bauer?

Best Left Hand
Simon Barere plays Blumenfeld's Etude for the Left Hand in A flat major opus 36 at 2.45

Summary of disconnectnetdness

I would like to summarise the current state of dislocation between the Golden Age of pianism and our own 21st century pianism.
1) Golden Age pianists were pupils or grand-pupils (pupils of pupils) of Liszt and Chopin. This regal lineage rather died out around the second world war.
2) Golden Age pianists learnt to improvise and compose, and perform their compositions, in the lineage of their teachers. With very few exceptions this again died out by the second world war.
3) Golden age pianists often played with their arms extended, in the style visible on photographs of Chopin, Liszt, Brahms, Grieg, Debussy and others (Radu Lupu these days does the same). Also with free arm weight. In modern pianism this is out of vogue, and elbows are often pinned to the side, leading to a degree of stiffness which is anathema to freedom.
4) For Golden Age pianists, the strength of spontaneous expression in the playing is paramount, so that the listener experiences a recreative force, perhaps equal in strength to the inspiration experienced by the composer at the moment of composition. Todays conservatoire teaches an altogether more controlled study and execution, the word execution meaning both realisation and death, as in the expression 'the operation was successful but the patient died'! If the listener does not come away from a piano recital having felt a powerful stream of inspiration, something has gone badly wrong.
5) The Golden Age pianist was frequently religious, looking on their pianism as a grave vocation, frequently compared to the priesthood or monasticism: Liszt was not the only pianist to take holy orders. Many moderns pianist have become more commercially motivated, as has the industry as a whole. The ultimate intentions of a performer affect the source to which one looks for inspiration, and consequently the nature of the outcome.
6) Many though not all Golden Age pianists explicitly preferred the sound of Bosendorfer pianos, which are in general rather lighter than the more assertive sound of the Steinway piano, which is now in use by the modern pianist in almost all major concert halls. With the Bosendorfer, sound was cloaked more delicacately, and the poetry of emotions was suggested rather than stated.
7) The Golden Age pianist often limited the amount of time spent practising, Chopin and Rosental recommending two hours a day, Hoffman recommending a generous 4 hours a day to his pupil Cherkassky. The modern pianist may often be practising 6-8 hours, which may make the ear less sensitive, and harden the natural suppleness of the arm. It may also result in boredom, as reported by Richter, (and occasionally some of his audience members!)
8) In consequence of 7), Golden Age pianists often made time to be polymaths, of wide ranging cultural learning (Moriz Rosental being a shining example). Many modern pianists are spending so long in repetitive practise and travel that they have no time for cultural research, resulting in a narrowness of context in their appreciation of the music, and if the performer does not fully appreciate the music, then the audience certainly will not.
In short, in order to go forwards, we now need to go backwards in time, with some urgency.