Відео

От души повеселился от Вашего отзыва)))

Вариации на тему Корелли Рахманинова (отрывок)

во второй части не умоню что

@@ladabellpianiste ?!..странно: я слышу Испанскую рапсодию Листа...)

​@@user-cx9rg8yr5cтоварищ перепутал - и там, и там вначале звучит тема из Корелли . Конечно же это рапсодия

Да-да.

Спасибо огромное за видео! Какой высочайший мастер Дмитрий Башкиров! Вот это музыкант!!! Потрясающая Величина!!!

Замечания Мастера верны а студент натужно и истерично исполнил и как его не исправить когда по ушам режет.

Да уж, хлопать он любит. Видел и другие уроки, где он очень истеричный и жутко нервный. На одном из таких уроков, по-моему в Испании, парень послал Башкирова на ...в конце урока " и суд его оправдал ". Он может быть совершенно невыносимым. Я всегда говорю : достаточно строгих ушей, вовсе не нужно забываться в тоне.

По-моему у него, как бы это помягче сказать,немного того в последние лет 5 было ...

@@user-vz2jv3nq2x брависсимо ВеликомуМузыканту и Человеку! Светлая память и благодарность Дмитрию Башкирову! А ваш комментарий, неуважаемый, очень точно характеризует ваше умственное недоразвитие и отсутствие элементарных зачатков культуры.

@@vyacheslavanokhin4572 а ты записывался на его мастер класс,ты видел ,как он просто оскорблял людей?подойти к зеркалу и на свою рожу посмотри.Судья нашелся.засунь свое мнение себе в то на чем сидишь.

Вы правы! Абсолютно!

John Bell Young Absolutely! I attended several of his master classes at the Royal Conservatory in The Hague, probably he was by invited by Naum Grubert (a superb Russian pianist living in Holland and teaching at that institute, he also translated what Bashkirov said). I can imagine that Bashkirov can be a little intimidating for some pupils, I can still hear his loud voice, hand clapping, shouting!I was very impressed by the man, not so much for his piano playing, he couldn't really play (anymore) those diffiuclt pieces, but because of his enormous vitality, enthusiasm and energy and wit, for a man who was then 77 years old!His remarks were always very logical and musical, very often about basic things: breathing, phrasing, using the whole body in a relaxed way while playing, playing the rhythms and dynamics and tempi in a correct way, being able to "conduct" the piece, look at it like a string player, etc.It's amazing how he could 'lift' an interpretation by just some of these generalremarks...but I wondered what on earth those piano teachers are doing there at the Conservatory, if so many basic things are totally wrong... (and it never became more clear when someone was playing a Beethoven Sonata!)One girl played Scriabin's Third Sonata; she also played everything incredibly loud and "with too much emotion". B. started a lecture about Scriabin's music, how it was misunderstood by pianists in the West who believe that it should always be "emotional" and "with strong Romantic sentiment". But for him Scriabin is a composer that you should approach in the Classical way: analyze structure, pedalling, harmony and articulation FIRST and only then add emotion. Again i can only agree completely. By the way the girl was Russian - but she was playing in such an over-emotional way that she couldn't analyse what she was doing, and turned the slow movement into a "sentimentalTchaikovsky"...I've been following your FB site with interest.

He is absolutely correct when he opines that in order to understand, much less convey the meaning of Scriabin's music, one has to approach it formally. Scriabin himself once told Rachmaninoff that to do so one needs to "walk around the harmonies". The sort of taffy pulling, rhapsodic, rhythmically innebriated music making that those who don't really know anything about Scriabin see fit to impose is proof enough of the stellar wisdom of Bashkirovs point of view, which I share completely.

My teacher at the Moscow Conservatory, the great Russian pianist and educator, Margarita Fyodorova once told me something I had not thought about much until the. She said that if one takes the trouble to examine carefully the majority of musical scores, you will see that the predominant dynamic is either piano or pianissimo, and that forte and fortissimo is the exception. How right she is!

John Bell Young That's a very interesting remark, and there is great wisdom in it...come to think of it, we call the piano "piano", not "forte"! And you maybe agree that it is infinitely more difficult to be able to play softly, with thousands of dynamic shadings between ppp and p (someone like Gieseking was a true Master in this respect), than it is to just bang on the keys or play everything mezzoforte...

Bashkirov has another great remark here: "musical indications- such as allegro, presto, staccato, legato etc - are meaningless in and of themselves and to take on meaning must be realized within a specific musical situation, in a context." He said it apropos of the Lento indications in the Rhapsody, which "is not the Lento of Beethoven's sonatas" and should be made lighter. Perhaps this is self-evident yet I wish a certain type of pedants who see themselves fit to criticize the greatest masters for perceived failures to follow the instructions written in the score would realize this: that it takes far more than an extremely literal mind to do justice to a piece of music.

ГЕНИЙ- педагог

Franz Liszt Spanish Rhapsody.

Damir Durmanovic Thank you! :-D

Zdes v instrumente delo bolshe Pasha

The Dchubert Duo-Lyubov Potapova& Alexander Thomas