It is fantastic to work with fantasies, imaginations, and inner untold stories. This is so enjoyable to listen to this your lesson. It is very important for all music students. 😊
I tend to be like the first sort of player, who thinks of music as abstract, but I also have had the experience of inventing a story as a key to interpretation to the Chopin Prelude #15 (so-called Raindrop). Without being wedded to the story, I construct interpretation for the 3 sections of this work as follows. The opening section, which ends with the modulation to C# minor seems to be a nostalgic recollection of a departed friend by the "protagonist". The c# section is a funeral march. First the protagonist hears it from some distance, with the cortege in the verbatim repeat passing under his windows. Then there's a burial. Finally, in the last Db section, the protagonist recalls the lost friend, and accepts the loss, forever.
I sorta imagine myself in a funeral when playing Chopin's E minor Prelude. Kinda helps, though it can also add to the anxiety it helps with interpretation.
Excellent, excellent video. You totally nailed what the polonaise fantasie is about for *me*. What did your young student make of Rachmaninov op 39 no 1?
wow. i'm not really familiar with that Chopin piece, heard it only a few times.. but the way you played that intro passage and the analogy with the starry skies.. i had one of those miraculous moments when suddenly everything focuses and becomes still and clear. that was unexpected.. :) "He imagined he could see the very faces of the stars; pale, they were, and smiling gently, as if they had spent so much time above the world, watching the scrambling and the joy and the pain of the people below them, that they could not help being amused every time another little human believed itself the center of its world, as each of us does." [from '𝘚𝘵𝘢𝘳𝘥𝘶𝘴𝘵', by Neil Gaiman]
Hello dear Dennis 💐, your video comes back as called. It's more possible for me to play something sad at the moment 😭. You gave good examples. I'm constantly slowed down. Come to nothing. Where is the power supposed to come from in this mess? So for me there is more of a dark side. In addition, I just received news of the death of someone very close to me. It's terrible😭. You know, I'd love to start all over again with very easy pieces at the very bottom. At least they'll get it done. I really miss the teacher who takes me by the hand and helps me. I'm sure I won't get anywhere with threats. This mess on UA-cam doesn't work at all, it doesn't do me any good and neither does the other person. Is there a teacher for me who means it honestly, without threats and anger. Someone who suggests me a piece that suits my status? Well, I'm alone and so far I've been choosing my own pieces. I have one more ready. After that there will probably have to be a break. Your videos are great. Best regards for you 🌞, Ursel
Why did composers not give a name to their pieces - in this case 'interpretation' is totally up to the performer, 'therefore' any interpretation is valid and competitions winners did not really win and I agree with Howowitz who hated competitions.
Since music as a symbolic system is wider than just one particular story, naming a piece means basically pinning it down like a butterfly to the board. You can enjoy watching your butterfly in the entomological collection of course, but watching it in a real life, when it still breathes and behaves in an unpredictable way, and you don't know which way it's going to turn on you in the next moment - it’s a special pleasure. The beauty and power of the approach explained in the video that there is no The way to play, no boundaries. It evolves and changes with a performer over time. Competitions aren’t perfect like everything else in the world, but demonizing things won’t help understanding them.
It is fantastic to work with fantasies, imaginations, and inner untold stories. This is so enjoyable to listen to this your lesson. It is very important for all music students. 😊
I tend to be like the first sort of player, who thinks of music as abstract, but I also have had the experience of inventing a story as a key to interpretation to the Chopin Prelude #15 (so-called Raindrop). Without being wedded to the story, I construct interpretation for the 3 sections of this work as follows. The opening section, which ends with the modulation to C# minor seems to be a nostalgic recollection of a departed friend by the "protagonist". The c# section is a funeral march. First the protagonist hears it from some distance, with the cortege in the verbatim repeat passing under his windows. Then there's a burial. Finally, in the last Db section, the protagonist recalls the lost friend, and accepts the loss, forever.
chopin didn't give titles to his preludes
breathtaking approach. thank you.
I sorta imagine myself in a funeral when playing Chopin's E minor Prelude. Kinda helps, though it can also add to the anxiety it helps with interpretation.
Excellent, excellent video. You totally nailed what the polonaise fantasie is about for *me*. What did your young student make of Rachmaninov op 39 no 1?
That one I don’t remember unfortunately, it was 7 or so years ago.
wow. i'm not really familiar with that Chopin piece, heard it only a few times.. but the way you played that intro passage and the analogy with the starry skies.. i had one of those miraculous moments when suddenly everything focuses and becomes still and clear.
that was unexpected.. :)
"He imagined he could see the very faces of the stars; pale, they were, and smiling gently, as if they had spent so much time above the world, watching the scrambling and the joy and the pain of the people below them, that they could not help being amused every time another little human believed itself the center of its world, as each of us does."
[from '𝘚𝘵𝘢𝘳𝘥𝘶𝘴𝘵', by Neil Gaiman]
Thanks for the quote, beautiful!
Thanks!
Thanks for your channel.
Thank you for your support!🤗
Hello dear Dennis 💐,
your video comes back as called. It's more possible for me to play something sad at the moment 😭. You gave good examples. I'm constantly slowed down. Come to nothing. Where is the power supposed to come from in this mess? So for me there is more of a dark side.
In addition, I just received news of the death of someone very close to me. It's terrible😭.
You know, I'd love to start all over again with very easy pieces at the very bottom. At least they'll get it done. I really miss the teacher who takes me by the hand and helps me. I'm sure I won't get anywhere with threats. This mess on UA-cam doesn't work at all, it doesn't do me any good and neither does the other person. Is there a teacher for me who means it honestly, without threats and anger. Someone who suggests me a piece that suits my status? Well, I'm alone and so far I've been choosing my own pieces. I have one more ready. After that there will probably have to be a break.
Your videos are great.
Best regards for you 🌞,
Ursel
I am sorry about your situation! I hope you’ll find a teacher who will be gentle with you!
Why did composers not give a name to their pieces - in this case 'interpretation' is totally up to the performer, 'therefore' any interpretation is valid and competitions winners did not really win and I agree with Howowitz who hated competitions.
Since music as a symbolic system is wider than just one particular story, naming a piece means basically pinning it down like a butterfly to the board. You can enjoy watching your butterfly in the entomological collection of course, but watching it in a real life, when it still breathes and behaves in an unpredictable way, and you don't know which way it's going to turn on you in the next moment - it’s a special pleasure. The beauty and power of the approach explained in the video that there is no The way to play, no boundaries. It evolves and changes with a performer over time.
Competitions aren’t perfect like everything else in the world, but demonizing things won’t help understanding them.