PIANO masterclass by Olivier Gardon | Vallée d'Obermann (Années de pèlerinage) by Franz Liszt.

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About this piano masterclass:
Vallée d'Obermann (Années de pèlerinage) by Franz Liszt.
0:00 Intro and playing part from ‪@hugopanonacle4618‬
9:20 Advice part from Olivier Gardon
In this masterclass, Professor Gardon explains the difficulty of sharing emotions while playing and congratulates his student on his beautiful understanding of Litsz's work. It is not enough to feel it deeply, hoping audiences will pick up on it, he says. It is the work of the musician to share and transmit emotions and perceptions. While being emotive or sensible during interpretation doesn't hinder it, one should not succumb to emotions and should always try to keep a clear head. He then proceeds to extensively guide Hugo towards a better understanding of technical annotations and other various alterations on the piano, for this kind of focus is an efficient way to keep a calm mind while playing.
What we learn:
- The importance and quality of depicting nature for Liszt,
- To use bass notes as a reference point and not get overwhelmed by them,
- The difficulties of chromatic alteration with piano,
- How to manage emotions while playing.
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This is actually the one piece in the first volume that is not supposed to have a relation to a specific landscape despite its name. The piece is mostly based on the Obermann character, while still representing Liszt's own struggles with identity and isolation. Exactly how autobiographical this piece is, is not known to me, but I do know that Liszt was deeply affected by this piece, so much so that in his later years he refused to hear it (or play it) in its entirety. It is crucial to read the poem and the excerpt from the novel, both printed in the Henle edition and the now public domain Breitkopf edition as well. If I remember correctly, Liszt even had problems with publishing this piece because he didn't want the cover to include an image of a landscape. It is safe to say that this anxious and mostly pessimistic piece (a later arrangement was given the name "Tristia") is one of Liszt's most important works and deserves a very careful and well thought out interpretation. At least a little research is necessary to understand it in my opinion. That being said, the masterclass seems to be successful and informative still, as Panonacle's playing is very beautiful! One can tell that Gardon's insight is based on his own experiences with this extraordinary piece.