Du glaubst doch nicht wirklich, dass jemand wie Kissin von Libermann oder gar LMG irgendwelche Tipps benötigt, wie er das 2. Rachmaninow-Konzert technisch besser bewältigt?
LG, Mick
Mick, wie kommst Du darauf ?? Und was soll denn dieses Gerede ??
Lies lieber mal genauer die Libermann-Ideen ( mit denen es sich tatsächlich so verhalten könnte, wie ich sagte: Viele der heute etwas bekannteren Pianisten ( und dazu gehört auch Kissin, nicht etwa zu den top 10 ) dürften, ganz genau wie ich sagte, in ihrem Leben noch nicht diese Ansichten vernommen haben.
Hasenbein zeigt ja ganz deutlich auf, inwieweit die "Lehrer" heute gewillt sind, nachzudenken.. .
Doch wir schweifen ab.
Folgendes, wie versprochen:
Zunächst, als Anknüpfung, wie erwähnt, die Fortführung der weiter oben begonnenen Einheit, mit der C-Moll-Fantasie von Mozart:
Zitat:
[...] ( Next, a student plays the Mozart C minor Fantasy. )
( To the student ) : You made here a couple of rhythmical mistakes; that's quite usual, you have no patience to wait. But it's not my business now to discuss those things.
What I objected to was this--the lack of legato.
It was partly the result of your failing to THINK legato, and partly the result of your procedure.
You didn't take the keys, you pushed them.
To control the speed of the key descent is extremely important and with this pushing movement it's almost impossible for us to have the real feel of the key.
Our substitute for legato on this essentially non-legato instrument is inflection in dynamics and in timing. In this case it is dynamic inflection we need;
I can grasp the key in my way, but if I PLAY each note evenly it still doesn't sound legato.
You see, the notes were unequal in volume, uneven because I WANTED it that way.
( Anm. Olli: Da hat er wohl kurz vorgeführt, was er meinte... )
Now, try again, and avoid playing the first note so loudly. Everything is relative; before you started there was nothing, so that your first sound will only be compared with silence.
All edited Mozart is terrible.
I prefer the Urtext editions. Petri called editors "additors". Mozart wrote relatively few indications, but he wrote enough, and if you follow them you will be all right.
( The student begins again, and says that she doesn't feel that she is grasping ).
I remember when I learned to drive, when I turned the wheel I always forgot to turn it back. The teacher told me, "Don't freeze on the wheel."
I tell you, don't freeze on this first note. Release it, or it hinders you continuing. Have the feeling when you touch the key and bring it down that the fingertip is pressed against the nail, a feeling of
slight suction.
Try again!
That's better!
Now still try to think the melody horizontally. ( She tries several more times and improves. )
I think that your trouble this time was that you forgot to open your hand, and that is awfully important when you are taking something.
I remember once a very moral student came to me, and when I told him about this taking movement he protested, "Mr. Libermann, I think our hands should give and not take!"
And I said that he was right, but before we can give we must take or we have nothing to give!
Zitat 1 Ende.
...Rücksprung zu Lecture 5:...
Sie beginnt mit einem kleinen Witz, denn Libermann besaß, wie wir wissen, über einen trockenen Humor.
Zitat 2:
Once upon time an international zoological society asked the scientists of different nations to send a paper on the subjects of elephants.
It's interesting how they reacted--
The British sent a wonderful thick volume, on beautiful paper with gold letters and illustrations, called "Hunting the Elephant";
the Russians asked three times for a delay and finally sent a slopyy booklet called "Elephants as the Last Remnants of Animal Bourgeoisie";
from Israel came a nice paper called "The Elephant and the Jewish Question";
The French sent an elegant volume, tastefully printed, entitled "The Love-Life of the Elephant".
Finally, and this is why I tell the story, the Germans sent thirty-six volumes, beautifully bound in leather ( imitation ) , called "A Short Foreword to an Introduction to Elephant Science".
At the beginning of this century, there began to appear in Germany, one after the other, volumes on piano technique.
One of the first was a 700 page treatise by Robert Maria Breithaupt entitled "Natural Pianoforte Technique".
This started a revolution, not so much in playing as in teaching, and was the beginning of the famous weight and relaxation method. As happens with many things invented in Europe, it was eventually forgotten there - but remained fashionable here, like psychoanalysis.
Unfortunately, Mr. Breithaupt is not dead in America.
What was this revolution against ?
After all, in the 19th Century we had a tremendous upsurge of incredible piano playing--Thalberg, Chopin, Liszt, then later another generation of giants--Tausig, D'Albert, Rosenthal, Von Sauer, and Busoni, and finally the younger ones--Petri, Ignaz Friedman, etc.
But teaching was in very bad shape at this time, as was the playing of average students, because teaching methods hadn't developed with the changes in the instrument;
Elizabeth the Second would have played a much different instrument than Elizabeth the First. The technique required for a virginal, spinet, harpsichord, or clavier, was no good for the piano of the 19th Century, which, but for the legs, resembles our modern piano.
Yet the outmoded idea of isolated finger technique was predominant, even after my generation. I had quite a number of students who were taught with books under their arms and pencils or coins on the backs of their hands.
I was fortunate to escape this torture, by the simple fact that there were no professional teachers in the small Russian town where I was born and grew up.
There were a couple of musical people who played as amateurs and dilettantes, and very well, since they were not taught by anybody either.
So I got a superficial instruction until I grew up and went to the conservatory.
But almost everyone else in my generation was "taught";
Busoni had to carry full glasses of water on the backs of his hands and play scales without spilling a drop.
Earlier Robert Schumann, who was unhappy at the impossibility of lifting a bent fourth finger as high as each other finger, invented a pulley which would pull the weak fouth finger up when he pushed his foot down.
The result was that he crippled his hand for life. Fortunately, he married an excellent pianist, Clara Wieck ( although not because of this finger ) who performed his works.
Towards the end of the 19th Century a movement against this way to proceed was already beginning. A German teacher, Deppe, admitted certain liberties--slight movements of the forearm, hand, etc. An American student of his wrote about this method, and for this time it was a very sensible book.
Then came Breithaupt with his weight and relaxation method. And exactly at the same time in England came Matthay, who, though widely different, moved in the same line as Breithaupt, advocating emancipation of the entire body.
As often happens in revolutions, one extreme was replaced by another.
Instead of the fingers there came a complete negation of their importance and a glorification of the arms and body. They tried to do everything either by so-called free-fall of the arm, or by all kinds of rotation and rolling; the fingers themselves went almost dead. [...]
Zitat 2 Ende.
LG, Olli !
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