Piano masterclass with Murray Perahia / Yonatan Aner / Schubert: Impromptu No.1
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- Опубліковано 3 січ 2023
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Another from me, nothing to do with the two pianists. For me, this (#1) is the greatest "short" piece of piano music that I know (and I know quite a lot). My recollection is that the name "impromptu" was bestowed by the publisher probably for marketing purposes. Literally the word means something like delivered without preparation, made up on the spur of the moment. I hear it as the extensively crafted and polished output of the greatest songsmith of all time. The more I hear it, the more I love it. I find the work intensely repetitive and at the same time non-repetitive, in that each repetition morphs into something new. In about 10 minutes, I hear more music than in the entire output of many recognised composers. Don't argue with me. It's an entirely subjective statement, in other words my truth, not the truth. If you perceive things differently you are welcome to feel pity for me.
You're correct regarding the title. "Impromptu" was given by publisher Tobias Haslinger with Schubert's permission when he issued the first two (Op. 90 No. 1,2) in Dec.1827. Haslinger announced the publication of the entire first set for the following year, but 3 and 4 didn't appear until 1857 and Haslinger's son, Karl, was then the publisher. Op. 142 was composed in that very same December (1827) not long after he'd written the Op. 90 set. The manuscript for Op. 142 already shows Schubert calling them "Impromptus", so the title was already in Schubert's mind and most likely something he'd discussed with Haslinger prior to publication of the first Op. 90 set. The Op. 142 set weren't published until 1839 by Diabelli.
I'm also impressed by the total attentiveness of Yonatan Aner, the "student". He is obviously a professionally qualified pianist if such a thing exists. He gives his full attention. How many chances does one have to have your playing critiqued by one of the great concert pianists of the generation? My master class in Israel was with Jennie Tourel.
Fantastic master class! The pianist is excellent and Perahia's commentary is deeply insightful.
Mr Perahia is my most favourite pianist. He has something in his playing that is ultra unique.
It was really a wonderful master class!! Perahia teaches very well and the guy is great!👏👏❤️❤️
I like the way he teaches
I don't - too many great players are poor teachers and think their own vision of a piece is the only viable one. In trying to install their exact interpretation, any spontaneity in the poor student is frozen. Perahia is very negative, shouting "NO!" every time he hears something not quite the way he would do it. Listen to any piece played by ten top pianists and they will all be different. You can prefer this or that, but teachers should present possibilities, not ideas set in stone and have some understanding of psychology. Perahia just destroys confidence by making young players feel they are walking an impossible tight-rope. Who wants an exact copy of Perahia anyway, when we can hear his recordings? There are some great teachers out there too, with humanity and warmth and understanding of pedagogy- like Stephen Hough.
Analysis starts at 09:40
This comment was written before I had heard MP say anything. I considered this the most idiosyncratic performance of the many that I have heard. An example may be found at about 3.12 - 3.18 where the left hand takes over the main melody. Schubert used this device not infrequently (e.g. in #4 of this set of impromptus and in the second subject of the opening movement of his last sonata (D. 960)). I do not intend to use the word "idiosyncratic" with implied negative connotations. But in the quoted instance, it comes across to me as Aner rather than Schubert who is using this device. Another striking feature here is the extreme power of the bass in several instances. While this is something I perceive Schubert often sought to achieve (see the above sonata which contained examples), it should be remembered that Schubert did not have access to instruments anywhere near as powerful as the modern concert grand, and arguably could not have conceived of such. It is my opinion that Aner definitely over-egged the cake here. On the other hand, I found much to enjoy in his performance and he achieved periods of great tenderness that I associate with Schubert. So, even though I ultimately prefer the more conventional approach adopted by most professional pianists, it was for me interesting and even refreshing to hear possible alternative interpretations from time to time.
I just knew in advance that they were gonna spend at least a few minutes on the opening G octaves
So glad to see Perahia uses letters instead of do re mi which shows his early training was in the US. In Europe they use do re mi. That used to confuse me utterly when I studied in Israel. He's a wonderful, very focused teacher. Perahia is originally American. His father got out of Salonica in Greece in 1935. The Jews of Salonica were tragically wiped out by the Nazis. Perahia is Sephardic, meaning from the East.
The student was very receptive to Murray Perahia, I believe he was quite spot on with his comments actually.
When was this recording made? Murray Perahia has been one of my favourite pianists of all time, that man plays so crisp, lively and articulated - didn't know he was the director of the JMC!
This made me anxious! I would just shut down.
Exactly - he is a fabulous player and a terrible teacher.
I wonder what year this was recorded.
what I don't understand here is, the guy knows the piece "by heart" and is musically so stiff, reminds my of my pianolesson 40 years ago, working on all this aspects, thank you to my teacher Toshiko Schmidt- Narita, the prase where the rythm is going from four to three (two times) she wrote into the sheetmusic "Triolen"!
bs
Подумал, что надо бы, в чистую субботу, послушать Горностаеву, экспромт Шуберта 90-1. Не слушал года 2 классику вообще (поэтому в рекомендациях ресурс никак не мог его мне подсунуть). Захожу - а он мне подсовывает ровно то (ПОЧТИ то!), о чем я только что подумал. Ютуб научился читать мысли?
This is a slightly old-style masterclass. Murray would do it differently in future years. The way here requires a LOT of listening and no DOING on the part of the pupil. In future years, every point would be made while the student played back through the piece. There is, of course, a lot to learn either way - just a different style.
I guess you didn't watch the full video. I like that he goes through the whole piece first and then with the student after, because in that part is a lot easier to understand what he means:)
What was the year of that particular masterclass? It is some 25 years ago, right?
The "student" is a true Pianist.
Who is Murray quoting here when he says the impromptu is a funeral for the dead child in Erlkonig?
I think it's his own idea.
@@erpollock no, I live in France and we say it's continuity of the Erlkonig, because of the relentless repeated triolets and the tragic elements in this impromptu. Then the last section which ends in major.
Is he referring to a Schubert song ..... Not sure which one though
It's kinda weird claiming this to be the funeral for the kid in Erlkonig as it's hard to make sense of the sublime, romantic sections of this impromptu in the context of a funeral. Also strange to use the Erlkonig theme to reflect on the death of the child. Kinda like wearing a Freddy Kruger mask to the funeral of the kids that die in Nightmare on Elm St.
It makes more sense to see this as absolute music (rather than programmatic or narrative like the Erlkonig) where some really interesting ideas were fleshed out from the main theme. The main theme is naked and vulnerable, like someone whistling to themselves with no intention of being heard. It imbues the listener a certain privilege for overhearing something. It is a theme that speaks of the joy of solitude and the terror of loneliness.
Pianist plays piece like march of obtuse soldiers. Mine and M.Perahia teacher think that walk of pilgrims.
Who is the pianist he refers to at 34:09? Is it Furt Wangler? I see that he is a conductor… doesn’t seem right 🤔
Pretty sure he said Furtwängler.
@@hellbooks3024 That's what I thought! Can't find any Impromptus he plays, though.... 🤔
Furtwängler was also a pianist… but maybe he is referring to his conducting style here, with his typical “tragic” delayed downbeat
@@fritzpoppenberg3921 interesting. Maybe I need to listen to some of his conducting to understand then 😊
Murray seemed almost offended during the opening!
As the session proceeded, with correction after minute correction, I began to feel sorry for the captive piano subject. Is there only one way to play Schubert's Impromptu No. 1? Well, there's Murray Perahia's way and that's what the student is learning. But there are many ways to perform a masterpiece, remaining within the accepted canon of performance. I began to feel annoyance at this OCD session.
Many of the things Perahia said like the different elements brook and melody, are just right. Doesn’t mean you play it exactly like he would, but you cannot really ignore that.
@@susandrakenviller3683Well said.
Didn’t he study with Horowitz?
Yes....for approximately the last two years of Horowitz' life.
Totally out of style 😂😂😂😂😂