Mastering Piano Artistry-Each Note is a Jewel/Star

The Art of Piano Performance
The Art of Piano Performance

‘Each note in a composition should be polished until it is as perfect as a jewel…those wonderful scintillating, ever-changing orbs of light.  In a really great masterpiece each note has its place just as the stars, the jewels of heaven, have their places in their constellations.  When a star moves it moves in an orbit that was created by nature.

Great musical masterpieces owe their existence to mental forces quite as miraculous as those which put the heavens into being. The notes in compositions of this kind are not there by any rule of man.  They come through the ever mystifying source which we call inspiration.  Each note must bear a distinct relation to the whole…’

Vladimir De Pachmann

Optimize Your Piano Practice Time

The Art of Piano Performance

Practice Tips for Developing a Solid Technique in Piano Performance

Practicing is both an art and a science. Every student of piano performance must remember that their achievement on the instrument will be the direct result of the amount of time and the quality of their practicing.

The art and science of practicing is not just time spent at the instrument but time spent listening to the music the student is working on, studying and understanding the harmonic analysis of the music as well as researching the time period and technical characteristics of the composer of the piece you are working on.

In addition to this, it is advisable for the student to prepare a weekly plan outlining the time spent on specific techniques, repertoire, sight-reading and review of old or previously learned repertoire.

Technique

The purpose of technique is to serve the pianist’s imagination and realize his/her interpretive ideas…

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A few helpful tips to improve your piano fingering

Melanie Spanswick

Image from 'So you want to play the Piano?

Fingering is a crucial element in piano playing and surprisingly it’s often overlooked even at advanced levels. Many piano students have never adhered to any at all. Fingering is necessary because it helps a pianist remember which one of their four fingers or thumb (in each hand) is required to play a particular note or notes.  It is a really useful skill to cultivate as without it piano playing will become haphazard and uneven. It’s difficult to achieve any kind of consistency or fluency without sticking to the same finger patterns in a piano piece.

Some pieces will have all the fingering written in and others will need it annotated on the music or score. A good teacher will write all the necessary fingerings on the music so when you practice you will know exactly which finger goes where. This is vital for smooth fluent playing.  Initially, your piano books will show you how the fingers are…

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Piano Lessons in Boca Raton

Piano Performance in Boca Raton
Piano Performance in Boca Raton

The Art of Piano Performance

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Chopin’s Musical Biography

Chopin Opus 35, A Musical Biography

Chopin’s Musical Biography & Mastery of Large-Scale Form

Chopin composed a Marché in 1837, stark and unadorned in melody but quite powerful. Opus 35 is built around this Marché and is the foundation of the sonata. Two years after the Marché was written as it was originally called, the sonata became published 1839. The outline of the sonata is:

I Grave/Doppio Movimento

II Scherzo

III Marche funèbre

IV Finale

Beethoven’s Sonata no. 12 op 26 is often thought of as an influence to Chopin’s opus 35. It has a similar construction; the first movement is a theme and variation. The second movement a scherzo, the third movement a funeral march and the fourth movement is a finale of unrelenting sixteenth notes. It is known Chopin played and admired it. Additionally he used it a great deal in his teaching. Many of his students reported working on it. Chopin’s earlier attempt at the sonata was in 1829 with his first sonata in c minor. Haslinger the publisher agreed to publish it in 1829 but later changed his mind. With Chopin’s works now being in demand, Haslinger had it engraved to begin publication. Chopin refused to authorize its publication but learned it was already in distribution in a letter from his father. He had recently made his home in Paris, following an unsuccessful stay in Vienna. Beethoven’s presence was still larger than life in Vienna as master of the sonata form, and Chopin wanted to prove he too had mastery of the large-scale form. He did not want to be judged by a composition written while he was still a student.

Chopin gave a preview performance of the Marché and reviews of this performance state Chopin had a ghostly appearance. The solemn feeling of the Marché brought tears to the eyes of the audience and Chopin removing the word funèbre from the title of the Marché intensified the music’s painful impact.

Marquis de Custine, left the most evocative corroboration in a letter of 22 October 1838 to Sophie Gay:

‘Consumption has seized that figure and has made of it a soul without a body. To say his farewells to us…then, to finish, funeral marches that, despite myself, made me dissolve in tears’.

Opus 35 is structured as a narrative, a story where each of the movements leads directly into the next. The stormy agitated chords of the coda in the first movement become the theme of the scherzo.

The four bar introduction to the first movement marked grave could just as easily be an introduction to the Marché. The finale which is a miniature sonata in and of itself sums it all up in one of the most mystifying enigmatic pieces ever written for the piano in a minute and a half.

The exposition in the first movement depicts a stormy life of a Polish émigré going first to Vienna then onwards to Paris, France. The turbulence and agitation of the first theme group in the exposition exhibits Chopin’s inner turmoil, which is strongly contrasted with a lyrical second theme group in the exposition. The sarcastic side of Chopin’s personality is shown in the Scherzo. The scherzo is fiery and displays a great deal of rage with explosive chords, which emulate the repeated tonic note as in the Marché. In Chopin’s life there was also a great deal of unrest over political problems in Poland as well as a tumultuous relationship with George Sand. Another source of controversy was his opposition to the romantic climate in which he was immersed in Paris. An ingenious composer with strong roots in classical and baroque music, Chopin’s music was also revolutionary. Lyrical trios in the second and third movements follow the classical sonata outline going to the relative major keys yet still have Chopin’s distinctive nocturne style. This put his signature on the classical sonata form. Chopin’s frail health continued to deteriorate and he was often consumed with thoughts of death, hence the foundation of the sonata is the Marché. Friends said he often stated “please make sure I am not buried alive”.

Chopin’s Salon in Nohant, the Home of George Sand, Paris, France Where He Spent Many Hours Working on his Musical Biography

Chopin establishes mastery of large-scale composition (sonata form) with his own signature style in his only composition without dedication. Chopin’s contribution to the sonata form development is substantial in opus 35.  As the sonata form developed from the Baroque period of pieces with multiple movements each with their own character this developed into the sonata form of the classical period, Beethoven first expanded the form than began to compress the form and link the movements together motivicaly. Opus 35 continues the development of the sonata form with creative mastery and development of motives, which penetrate each other and are linked together.

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