My pianist father suggested to me playing this. Not understanding that I had completely lost track in piano playing and this was far out of my reach. I kept it in the back of my head wishing to play it for him one day and seeing his proud eyes. He died before I even could play the first line. I never touched it again. Hearing this now makes me cry. I WILL dig out the sheet notes now and get back to work. Thank you for uploading this ❤
Again, new to me. A wonderful discovery. I love the way you unpack these pieces and show that expressing feelings when playing repertoire is as important as when improvising. And you just dive into the matrix at various places like it's no big deal. And then play through with NO CUT! Bravo!!
I've made a few videos about groove. To generate a strong groove in a fast piece like the Etude you mention is possible when we grasp and play the rhythm cells correctly within the rhythmic matrix structure. Each group of 4 16th notes (semi-quavers) is a beat and to practice this kind of rhythm cell, I say diddle-liddle (or tigga-digga) for each one, and play each one with a kind of effortless strength as a single unit within the keyboard map. This makes our playing feel strong and relaxed. Physically, we need to relax for groove to function well. In romantic music, our groove needs to be especially elastic and flexible; but really, in all music, there must be some ease and flexibility (which really helps our muscles to work too), and if we play rapid perpetual motion figuration in a flat and even way then the groove disappears: we need a wave. Many (maybe even most) classical pianists play with a very weak sense of groove, especially in rapid passage work. One could argue that this is a valid aesthetic choice - one I personally dislike and regard as non-fluent and potentially injurious. I'll definitely make more videos about groove. It's my obsession!
My pianist father suggested to me playing this. Not understanding that I had completely lost track in piano playing and this was far out of my reach. I kept it in the back of my head wishing to play it for him one day and seeing his proud eyes. He died before I even could play the first line. I never touched it again. Hearing this now makes me cry. I WILL dig out the sheet notes now and get back to work. Thank you for uploading this ❤
I'm very touched by your comment. Thanks for sharing!
I love this barcarolle ! I'm so happy you're playing it 😃
And I'm happy you listened! Thansk!
Again, new to me. A wonderful discovery. I love the way you unpack these pieces and show that expressing feelings when playing repertoire is as important as when improvising. And you just dive into the matrix at various places like it's no big deal. And then play through with NO CUT! Bravo!!
Aw thanks! I appreciate the appreciation!
Wow. To say it is beautiful is not even close to what it really is. Have never heard it before and fell in love. Thanks Phil.
Thanks Gio, I'm so glad you liked it!
Very enjoyable and sumptuous:)
Thank you! I'm glad you enjoyed it!
I second what others have wrote already: in short, I did not know the piece and loved as you explained it and performed it in one shot! Wonderful.
Thanks so much!
Beautiful interpretation!
Thank you very much!
Merveilleux :)
Merci!
Hello Phil... masterpiece... which model of keyboard u use.. as it is not a typical piano, right?
It's a Roland HP605 triggering Pianoteq's Bluethner model.
Can you maybe explain in a video how to feel the groove in e.g Chopin op. 10 no. 4 it's such a fast piece that i do not know how to feel a groove.
I've made a few videos about groove. To generate a strong groove in a fast piece like the Etude you mention is possible when we grasp and play the rhythm cells correctly within the rhythmic matrix structure. Each group of 4 16th notes (semi-quavers) is a beat and to practice this kind of rhythm cell, I say diddle-liddle (or tigga-digga) for each one, and play each one with a kind of effortless strength as a single unit within the keyboard map. This makes our playing feel strong and relaxed. Physically, we need to relax for groove to function well. In romantic music, our groove needs to be especially elastic and flexible; but really, in all music, there must be some ease and flexibility (which really helps our muscles to work too), and if we play rapid perpetual motion figuration in a flat and even way then the groove disappears: we need a wave. Many (maybe even most) classical pianists play with a very weak sense of groove, especially in rapid passage work. One could argue that this is a valid aesthetic choice - one I personally dislike and regard as non-fluent and potentially injurious.
I'll definitely make more videos about groove. It's my obsession!
This is good for classical fans,but personally I’m a fan of your improvs,anyway good playing.
OK! Thanks!