Phrasing, the art of hearing it. Haydn, Sonata Eb I – hob. XVI:49.
So not forcing the student to play what’s written “because that’s what one should do”, but tempt and challenge: just try it, try it seriously, with attention. With an open mind and ears.
To train the skill of listening, focused listening, detailed listening. While you play. Which is not that easy at all. – Read more
Tweaking the timbre, the una-corda pedal. Rêverie, Debussy.
Taking all this into account on could say the una-corda pedal can be used as a kind of equalizer, changing the timbre of the tone. Like a sound engineer when doing the master mix after the music has been recorded. The pianist does it in real time, while playing. – Read more
The pianist’s toolbox, Moonlight Sonata a Funeral March?
What do we do to make the music sound the way we want it, the way we think the composer wanted it? What techniques, what tools do we use for our performance? – Read more
Intermezzo: Bechstein being worked on.
In this intermezzo blog I will tell you about the quest for the “perfectly playing instrument”. A rather technical story but after all, this blog-site is about my Bechstein. – Read more