October 17, 2014
"Fliter sets her stall out from the opening bars of the first, C major, prelude, where her generous pedalling gives the music real warmth and breadth that stays just on the right side of overindulgent. But in one or two later numbers she does stray over that line – her view of the B minor’s lento assai marking is just a bit too assai for my taste, and the A major prelude that follows it seems to put its sentimentality in quotation marks. Against that is a torrential account of the B flat minor prelude, as exciting as any I’ve ever heard, and a fiercely dramatic one of the F minor, both performances that get well rewarded for the risks they take."
(Andrew Clements via Chopin: Preludes, etc CD review – truly memorable moments from Ingrid Fliter | Music | The Guardian)

"Fliter sets her stall out from the opening bars of the first, C major, prelude, where her generous pedalling gives the music real warmth and breadth that stays just on the right side of overindulgent. But in one or two later numbers she does stray over that line – her view of the B minor’s lento assai marking is just a bit too assai for my taste, and the A major prelude that follows it seems to put its sentimentality in quotation marks. Against that is a torrential account of the B flat minor prelude, as exciting as any I’ve ever heard, and a fiercely dramatic one of the F minor, both performances that get well rewarded for the risks they take."

(Andrew Clements via Chopin: Preludes, etc CD review – truly memorable moments from Ingrid Fliter | Music | The Guardian)

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Filed under: piano review 
October 11, 2014
"Sofronitsky, who was Scriabin’s son-in-law and a great interpreter of his music, said “Remember, when you play Scriabin he will overthrow you emotionally. You have to have icecubes in your veins.” Which is a paradox because you don’t want to sound like you’ve got icecubes in your veins. But you have to maintain an iron control or else all the passion will just blindside you. His music is so visceral, so hyper-everything, hyperemotional, hypersensuous, hypererotic, hypermanic, hyperexciting… But you have to stay connected to the structure.

But even when structure is more obvious, one has to be careful. For example, Chopin sort of stands halfway between Mozart and Scriabin. Chopin has all this clarity and all the structure and all the purity, and yet if that’s all you play, if you leave out the magic, you’ve got nothing. But if you only play the magic it’s quite sickening. I mean, if you get all vaporous and emotional it’s nice for a few minutes — and then yuck. And with Scriabin, of course, it’s practically the other side of the coin."

— Garrick Ohlsson Artists on the Bench: This Week With Garrick Ohlsson : San Francisco Classical Voice

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Filed under: piano 
September 6, 2014
Keep going!

Keep going!

(via groundandgold)

September 1, 2014

fluffyfit:

surimistick:

i was making a lot of mistakes and then my archery instructor said:

“you make mistakes because you’re focusing on the target and not on your actions”

and i was like woah

thanks for giving me the best life advice i’ve ever gotten

guys just think about how applicable this is to EVERYFUCKINGTHING

What’s amazing is that both this advice (focus on your immediate actions) and its exact opposite (focus on the big-picture target goal) are equally true and equally necessary to master any skill. Wisdom is being able to hold contradictory ideas in your mind at the same time.

(via pianoguy6789)

September 1, 2014
"There are so few notes,” the pianist Leon Fleisher said, “but so many implications.” The setting was a recent master class at Carnegie Hall. Fleisher, … was speaking about the Andante movement of Schubert’s B-Flat-Major Sonata … “There are so few notes, but the implications go back billions of years,” Fleisher went on. “You have to be like the Hubble Space Telescope, which sees stars as old as the universe. The stars are dead, but their light is reaching us just now."

— Alex Ross quoting Leon Fleisher
The Sonata Seminar - The New Yorker

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Filed under: piano 
September 1, 2014
"The central work is Bach’s Chaconne in D Minor for violin, arranged as a left-hand piano exercise by Brahms. In a letter to Clara Schumann, Brahms told of his love for the Chaconne—“a whole world of the deepest thoughts and most powerful feelings”—and said that he enjoyed struggling in solitude to execute it with one hand, because “one does not always want to hear music actually played.” The miracle of Fleisher’s account is that, while he performs with astonishing dexterity, he retains that atmosphere of exploration, as if no one were listening. The most wrenching passage in the Chaconne comes toward the end, when, after an upward-striving, light-seeking section in D major, there is a shuddering collapse back into the minor. Here, as sonorous, multi-register figuration gives way to spare, confined lines, you may remember what you might have forgotten, that the pianist is using one hand, and that the impairment of the other has caused him much sorrow."

Alex Ross covers Leon Fleisher’s latest record in his New Yorker column this week.

Fleisher has struggled for years with focal dystonia that impairs playing with his right hand.

What’s Lost When the Cloud Replaces CDs

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Filed under: piano 
August 24, 2014

Here’s some Sony publicity on Levit’s new record.

Look at that room!

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Filed under: piano 
August 3, 2014
"When I’m practicing a piece of Schumann (for instance), I try to find my way into rhythms and ideas that were notated in a completely different time, that originate from a set of enthusiasms that I can only dimly imagine. At first, like an organ transplant, there are rejections, mismatches — but slowly I find my way into Schumann’s skin."

— Jeremy Denk, quoted in the New York Times Book Review

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Filed under: piano 
August 2, 2014
Parts
Francesco Corsini

Parts

Francesco Corsini

(Source: francescorsini)

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Filed under: abstract piano 
July 27, 2014
stevey226:

Today wasn’t as productive as it could have been and I should feel bad.

Don’t feel bad! I just read this post today, and I think it’s true — sometimes we need to re-evaluate our notion of progress and let ourselves recharge guilt-free.

stevey226:

Today wasn’t as productive as it could have been and I should feel bad.

Don’t feel bad! I just read this post today, and I think it’s true — sometimes we need to re-evaluate our notion of progress and let ourselves recharge guilt-free.

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Filed under: piano practice