My Recital In Ferrara

7 years ago by A Pianist

- - - - - I would like some feedback

7 years ago by A Pianist

OK I didn't watch all but enough to have some ideas... I like very much the way you listen to what you are doing. And your touch reflects this - in Vallee d'Obermann you really have a delicate, sensitive touch that brings some beautiful, shimmering tones out of the piano - very well-controlled. Musically there are many details, nice inner lines and interesting balances of voices... many good things! In the Scriabin as well... Technically your wrist, by being supple, is actually overly flexible and leads to a break between hand and arm that works against you in loud passages. Then also in the loud playing there is the standard strain from making the arm to too much of the work, leaving the hand with a tendency to collapse under the strain of the onslaught. You can see what I mean in this next clip: I like the music of your Scriabin Op.11 #14 more than hers, but this girl's technique is definitely what I would like to see you aiming for... Thanks for posting these, they are a really valuable and positive contribution to the forum. By the way folks, there are a few places still left in the Hirschberg workshop next weekend, so if you feel the need to work with me at closer quarters, now is your chance! All best, AFF

7 years ago by A Pianist

OK I didn't watch all but enough to have some ideas... I like very much the way you listen to what you are doing. And your touch reflects this - in Vallee d'Obermann you really have a delicate, sensitive touch that brings some beautiful, shimmering tones out of the piano - very well-controlled. Musically there are many details, nice inner lines and interesting balances of voices... many good things! In the Scriabin as well... Technically your wrist, by being supple, is actually overly flexible and leads to a break between hand and arm that works against you in loud passages. Then also in the loud playing there is the standard strain from making the arm to too much of the work, leaving the hand with a tendency to collapse under the strain of the onslaught. You can see what I mean in this next clip: I like the music of your Scriabin Op.11 #14 more than hers, but this girl's technique is definitely what I would like to see you aiming for... Thanks for posting these, they are a really valuable and positive contribution to the forum. All best, AFF Thank you very much for you reply, you made a very comprehensive analysis. Having your two Books and your DVD, what exercises would you suggest me to improve my wrist? However I would like to know your opinion of another pupil of my teacher, who has 17 year old, had started playing piano only five years ago but has an outstanding (but "visually" very strange) technique: . What do you think?

7 years ago by A Pianist

I think you are both quite amazing. I am not that famliar with the pieces to give more detailed feedback, but I can tell that I simply enjoyed listening to both of you play. Can you please explain why you think Giovanni's technique is visually strange? I don't see anything obvious at first glance.

7 years ago by A Pianist

I don't think he has outstanding technique at all. He has a certain fluidity of mechanics (he can play fast), but in terms of technique he is doing many things wrong which give him a really unevolved sound. You can differentiate aurally virtually nothing in what he does, and his playing gives a strong impression of trying to superficially impress the listener with speed while showing not much understanding of the dramatic or expressive content of the music at all. This music is very polyphonic and it is highly orchestrated in its architectonic structure. Of this we hear virtually nothing in his playing. And there are physical characteristics which reflect this. His arch is dropped. Yes he can still move his fingers, but there is no clarity in the passagework - it's a mess. It's no use playing fast when the individual notes are indistinguishable. The main tool for orchestration and the tonal differentiation of voices - the arch - is missing in his physical arsenal. Where the controlling factor should be there is just a big emptiness. My god, am I ever negative tonight! Sorry! But really, this is the kind of playing which some people find impressive because it's fast and loud, but really to me it is just SO empty in every way!!! All best, AFF