A piano only comes to life in the presence of a pianist. A pianist has only a lonely soul if piano disappeared in the world tomorrow. Much appreciate Tiffany and Laura promoting together with classical. Music entertains our souls💕
The limitation of repeated notes on 18th century fortepianos (and harpsichords) can be used to determine the maximum tempi for keyboard music of the era. My impression is that some pianists are playing the music anachronistically fast. Of what I have heard, Tiffany's tempi for classical works put musicality first and are not too fast.
Couldn't agree more with part 1 of your comment. As for part 2, this is exactly one of the reasons why Tiffany ranks top of my favorite contemporary pianists.
This was really great! I feel like the discussion on pedaling should be more than just a passing curiosity. Let's say our goal is to be faithful to a particular romantic composer, so we use an urtext score and pay careful attention to all their markings. If the effect of the pedaling was substantially different on the early 19th century fortepiano that the composer used than on today's modern pianos, then we may actually be *more* faithful by deviating our pedaling from the composer's instructions. But this is something we can't know unless we learn about pedaling action on historical pianos.
Indeed! For example, as in modern pianos the dampers stop the sound in a more clean and efficient way, one could for example release the pedal a tiny bit later or in a slower way.
Laura, thank you for your reply! So that means that I may need a bit *more* pedal on a modern piano than indicated to mimic the effect I would get on, say, a piano that Chopin used. I was actually fearing that my sound may be *too* muddled if the dampening is more effective on modern pianos, and that I should lift and reapply the pedal more often, or maybe use half pedal. But now I will reconsider that.
Thanks a lot, dear Tiffany! It was a real pleasure talking to you 🙏🌸 With best wishes,
Laura
Thanks to Laura, very informative chat. Glad you kept the chat going.
thanks for this, interesting
This should be fun! Historical pianos, right up Tiffany's alley. 🤭
A piano only comes to life in the presence of a pianist. A pianist has only a lonely soul if piano disappeared in the world tomorrow. Much appreciate Tiffany and Laura promoting together with classical. Music entertains our souls💕
This was very interesting tiffany
Amazing interview :) Laura is a great artist
I like Steve Lubin's forte piano playing of the Schubert trios. N'er a clearer sound have I 'ere heard.
If you think you know it all, come to this channel, have a glass of red wine, and listen. Thx Tiffany
The limitation of repeated notes on 18th century fortepianos (and harpsichords) can be used to determine the maximum tempi for keyboard music of the era. My impression is that some pianists are playing the music anachronistically fast.
Of what I have heard, Tiffany's tempi for classical works put musicality first and are not too fast.
Couldn't agree more with part 1 of your comment.
As for part 2, this is exactly one of the reasons why Tiffany ranks top of my favorite contemporary pianists.
@@andresgunther I hope Tiffany gets to read that.
This was really great! I feel like the discussion on pedaling should be more than just a passing curiosity. Let's say our goal is to be faithful to a particular romantic composer, so we use an urtext score and pay careful attention to all their markings. If the effect of the pedaling was substantially different on the early 19th century fortepiano that the composer used than on today's modern pianos, then we may actually be *more* faithful by deviating our pedaling from the composer's instructions. But this is something we can't know unless we learn about pedaling action on historical pianos.
Indeed! For example, as in modern pianos the dampers stop the sound in a more clean and efficient way, one could for example release the pedal a tiny bit later or in a slower way.
Laura, thank you for your reply! So that means that I may need a bit *more* pedal on a modern piano than indicated to mimic the effect I would get on, say, a piano that Chopin used. I was actually fearing that my sound may be *too* muddled if the dampening is more effective on modern pianos, and that I should lift and reapply the pedal more often, or maybe use half pedal. But now I will reconsider that.
The crossover we all wanted 😎
❤❤❤
Enjoyed this, you really seemed to warm to each other !
nOice