Leon Fleisher Solo Piano Masterclass July 13, 2015
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- Опубликовано: 28 июл 2015
- The Music Academy of the West is among the nation’s preeminent summer schools and festivals for gifted young classical musicians. At its ocean-side campus in Santa Barbara, the Academy provides these musicians with the opportunity for advanced study and performance under the guidance of internationally renowned faculty artists, guest conductors, and soloists. Admission to the Academy is strictly merit based, and fellows receive full scholarships (tuition, room, and board). The Academy’s distinguished teaching artists roster has included famed soprano Lotte Lehmann, composers Darius Milhaud and Arnold Schoenberg, cellist Gregor Piatigorsky, pianist Jeremy Denk, and current Voice Program Director Marilyn Horne. Academy alumni are members of major symphony orchestras, chamber orchestras, ensembles, opera companies, and university and conservatory faculties throughout the world. Many enjoy careers as prominent solo artists. In 2014 the Music Academy entered into a four-year partnership with the New York Philharmonic, resulting in unprecedented training and performance opportunities for Academy fellows, and Summer Festival residencies for Philharmonic musicians.
The Music Academy of the West cultivates discerning, appreciative, and adventurous audiences, presenting more than 200 public events annually, nearly half of them free of charge. These include performances by faculty, visiting artists, and fellows; masterclasses; orchestra and chamber music concerts; and a fully staged opera. For more information, visit musicacademy.org 
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Rest in peace, maestro. What an incredible teacher, his words of wisdom will never be forgotten. 💔
a tip : watch series at kaldrostream. Me and my gf have been using it for watching loads of movies during the lockdown.
@Terrell Kristopher Yea, I've been using Kaldrostream for years myself :D
Unfortunately they're already forgotten except where they've been recorded and preserved on venues like this. I wish we had recordings from the 1970s.
I love how he basically went on a whole lecture about different musical forms, countries they originate from, existentialism, all to essentially say “sit still”.
I love his descriptive overview of French, German and Russian music. O.K. it is generalisation, yet wholly informed. What is so inspiring about Fleisher's masterclasses is the fact that he encourages students to think and examine their own concepts. A truly inspiring teacher.
Love his comments on allowing the notes to tell the message, rather than injecting them with our own emotions
Met Fleisher in 1968 and studied with him at Peabody. After lessons we all used to run to the practice rooms, so visionary and inspiring were his lessons. He came to guest teach for Gyorgy Sandor's Doctoral Program at the U. of Michigan, in which I was a DMA candidate. Prior to his arrival, most of the class had recalled his later performances, which were a bit 'off,' since he was dealing with right hand problem. However, by some fluke I happened on his recording with Szell of the Rachmaninoff Rhapsody and Franck Symphonic Variations. I put the disk on the stereo system during dinner with my fellow doctoral friend. We could not even think about eating, the music making and pianism, to say nothing of Szell's reading and the Cleveland's playing, were simply colossal on every level. When Fleisher arrived to teach, all the doctoral students met him and when he came to me and my room mate we were absolute nervous wrecks. The other students were puzzled by our intimidation, of course. After a few hours of his teaching, however, their puzzlement had fallen away, the master-visionary that he was. The Peabody study with him was an unforgettable time that I will never forget. Of the eight teachers I had, at Oberlin and Juilliard, "Leon" stands in a category by himself, a beacon for searching musicianship and piano playing......
+Warsteiner Deutschland He's great....great artist and person. He went through a big deal at Tanglewood with Ozawa. Fleisher left Tanglewood and the friendship was severed. I think he's 80-something now,
+Paul Jones The nonsense that is endemic to the arts scene, where all kinds of backbiting and rivalries are acted out, remains dysfunctional as heck. At Juilliard, where I was for a long time, the rivalries between the major piano studios was childish and unrelenting. Apparently, Ozawa wanted more modern music, in keeping with the postmodern marginalization of the classics, and Fleisher objected, leading to bitter disputes, including Ozawa saying one thing to Leon but going behind his back 180 degrees in public. ("oh well")
+Paul Jones I remember as a thirteen-fourteen year old kid in the prep, always being horrified at how badly they spoke about oneanother (the piano faculty) right in front of us. The only one who was always nice and sincerely pleasant was Mr. Raiff (spelling?!). And he was the best teacher. The big names got great students who were great when they came, and for the most part still good when they left. Mr. R. could get anyone to play better.
+Paul Jones Thank you for this beautiful tribute. You were fortunate indeed to have studied with Fleisher.
When I was a young piano student, Fleisher was a beacon, particularly his playing of Brahms. I just about wore out my vinyl recordings of the D Minor Concerto with Szell and the Handel Variations. Those were the performances by which I measured all others, and still do.
Paul, this guy can't play. My friend, a Russian pianist studied with Fleisher at Peabody realized this. Fleisher mad his life impossible. By the way Sandor was an incredible pianist and teacher. My teacher Maria Meirelles studied with him. Maria is a great pianist as well.
Apparently, Dorothy Taubman the women Mr. Fleisher claims as being , "absolutely extraordinary in her intuition of when you have pain, where it is you're doing something wrong and how she can get rid of it. That's very special. She's almost a healer in that sense." Mrs. Taubman claims that she put Mr. Fleisher “on the right track.”
A colleague of mine was so desperate and I’ll use their lingo.... “injured” that she secured lessons with Mrs. Taubman who was able to “fit her in” only if she would clean her home, in addition to paying a ridiculous fee for lessons. Well fifteen years later she still has her “injury” and sees some quack in California when she feels the need for an expensive readjustment, paying attention to specific tension and minute angles of her right hand on camera.
As for me, Fleisher and Taubman are charlatans.
Love him! His intellect and humor.
Audrey Oberli
Absolutely inspiring! True demonstration of constructive criticism. He is not treating students like "students" but there is a sense of genuineness to both the person playing the music and the music itself!
Pollinifan absolutely agree with your comment. Mr Fleisher is sooo a servant to music above all
Fleisher's gentle manner and thorough combination of practical musicianship with the idea of music as feeling and emotion, seems to be a direct way to the student's heart and mind.
Perfect! Fleisher approaches with great gentleness and humour, in a sort of minimalist way, which allows our hearing to open. Only then does he speak of the specifics, and, by this approach, he transforms the student’s performance, with scarcely any difficulty for the student. The fact that he cannot demonstrate for the pupil not only speeds up the learning, but avoids the danger of imitation.
He had a incredible impact on that second female student’s performance
LF's greatness as amazing profound guide, 1.5 hours not nearly enough time with him. Please invite him back (or upload more from this series). Thanks for uploading.
Truly amazing teaching.
just wonderful
Fleisher is awesome here, so good at filling the role of mentor!
I feel as though I never really know a piece until I've 'attended' Leon Fleisher's masterclass on it.
Gold!
Re his pulse comments, I heard him at a masterclass at SF State in which he pointed out that the last return of the opening theme in Chopin's Gm ballade contains a heartbeat in it - each downbeat is followed by a low D left hand "lubdub" two notes on the 2nd and 3rd beats" - I really like that comment - a heartbeat in the return theme.
In the Op 110, I was at the point of pausing, to make a comment about how Fleisher approached this as Schnabel did - and seconds later, he said that he had studied with Schnabel! Schnabel’s recordings were a huge influence on me as a young man, and the intensity of his music making has not diminished over many years. It was interesting to observe how the student’s facial expression and physical demeanor changed when her playing had been influenced by Fleisher. The appearance of a performer is important; not only the sound, rhythm, phrasing, and dynamics - and these are just the starting points...
leon is pretty awesome
I would argue that the clavicinistes are hugely important, and while the literature is for the harpsichord, the legato and elegant hand is their contribution. Chambonnieres is a straight shot to Chopin and Ravel.
I agree with leon, the beginning should be more powerful , perhaps like matsuev pf
*IVO`s MAGIC WORLD presents MUSIC HISTORY GUIDE* - *FAMOUS BIRTHS - LEON FLEISHER* - *90th Birthday, Today!!!* - (JuLy 23, 2018)
Takes me back to the early 70s at the Royal Conservatory of Toronto. I feel as though I don't really know a piece until I've attended a Leon Fleisher masterclass.
I am learning music is like living bodies , growing , breathing inhaling exhaling esp. in Beeth. op110 . I've not been hearing Schnabel because of unmusical habits I've developed . We are all in danger from teaching ourselves badly after absorbing little that is important from previous teachers .
1:01:37 "that's like being a little pregnant" lmfao
+Mehra Ahsan 1:11:29 crescendo
dont forget to be realistic - you will need to do some work whichever plan you decide on for learning to play piano I've been studying teaching yourself piano and discovered an awesome resource at Turbo Piano Secret (check it out on google)
dont forget to be realistic - you will need to do some work whichever plan you decide on for learning to play piano I've been studying teaching yourself piano and discovered an awesome resource at Turbo Piano Secret (check it out on google)
RIP
Oh God, how I love Johannes Brahms...
Missing him a lot .😭😭😭
His presence is sorely missed in this chaotic world
@@TheRobyMann yes.. amazing man .🌹🌹🌹. He’s Rest In Peace
The story at 1:15! Too good.
ye was funny, but to be honest makes few sense
Of the three pianists, the Brahm's was the least expressive... dry, mechanical, none of the intimacy and sensuality so indicative of Brahms, no overall shape to any of it... couldn't wait to hear what LF said... yep, LF said no shape to it and pianist didn't know where he was going, really loved all the changes he made in the young man's Brahms... the Beethoven was without any breath, no pulsating vibrancy and delicacy... it's an art to breath that one alive, but what LF said was all so valid on the Beethoven... my favorite Beethoven 110 is that of Vladimir Feltsman, impeccable... really loved seeing this snapshot of Fleisher, truly wished I would have experienced his genius of a musician...
27:00
57:00-58 - where is Chopin in this analogy? Is he "German" or is he "French"? Thank you so much for this, agree, please invite him back, his perspectives are so important to capture.
P beethoven4ever
Polish, I'd say. He was born in Zelasowa, Poland.
Chopin’s music was absolutely introspective, writing mostly about love, polish traditions or the dramatic side of his life. I think because of this and the characteristics of his music (for me he is way closer to tchaikovsky, for exemple, than to bramhs) he’d stand along russians
I don't think he's coming back.
20:24 27:00
He's an awesome teacher, but in the beginning he looked scary. He's so inspiring and his humour is matchless...
I think that the first player need to use the left pedal less often and more wisely
76
maybe do 1 or 2 people for a masterclass. having to interrupt the flow of a masterclass is superbly annoying. a student should be able to learn something from every masterclass even if they aren't playing.
I don't know how the first pianist avoids tendonitis. He pulls his fingers back to the point where the bridge of his hand caves in, producing a lot of tension.
It almost hurts to watch it!
jongleurette yeah a bit like language land the Asians have superbly supple hands and wrists they sound a bit bland but amazingly accurate
sam333 What, all the Asians?
He's saying she's rushing it in places but saying it in a nice way. She needs to keep a more even tempo even if it's a tad slower. Maybe just nervousness. I still say she should wear a proper top. Victoria's secret should be kept in the boudoir.
...is this really the right kind of piece for this kid? introspective music......needs that kind of response, I feel...
Doesn't grasp Schumann's psychological complexity at all. Needs years more maturity.
Woman in her underwear plays piano publicly. In olden days a glimpse of stocking was looked on as something shocking.
These kind of classes are a great opportunity for the teacher to sound off on all sorts of topics, get philosophical, tell stories, tell jokes, be charming, show off, etc. But I'm not at all sure how much of this is actually helpful for the student, who is in danger of becoming paralyzed by all the many things he or she has been urged to consider while performing. To me this is not the correct way to teach. As I see it, when performing, all "thinking" should be turned off and all attention payed to what the hands are doing. One must first absolutely master the notes, to the point where one could not make a mistake if one tried. Then one must allow oneself to ride on one's mastery of the notes, as one rides on the back of a strong, swift horse, and let one's musical imagination hold sway -- without thinking or trying to remember what one has been taught.
Interesting. I think exactly the opposite. One should always have a musical intention before playing, even (or especially) scales. Would an actor practice speaking every word of his part until he could recite all of his lines mechanically without their meaning anything? I do make an exception for Chopin, which I play best if I let my fingers think for me.
We are about 31 mins in before we actually get to something substantive. Too much waffle.
The kid doesn't make UP the more important on this score.
Rubinstein was right..........these kids are typwriters. They are like souless machines. They don't hear anything. Not the pain, the sorrow, the sitting of the music on the air. They need to give up the piano for a year and just listen to Caruso and Gigli and Callas and Schnabel and then start again.
I'm not sure what you're on as that first student played Schumann pretty spot on.
@@jponz85 What ''I am on'' is that the sound of the piano does not change in texture. It is not just getting louder and softer but changing the texture of the sound of the piano as the atmosphere of the phrase changes. The best is to listen to Schnabel. Fleischer (Brahms 1st piano concerto), Van Cliburn, Richter, Joseph Hoffman, Ignace Friedman, William Capell, Horowitz, Rubinstein, Clara Haskell, Dame Myra Hess and of course the ultimate one and only Dinu Lipatti. I think then you will see what '' I am on ''
@@adriancook7078 I've been playing piano for almost 30 years, teaching for 18 years and I just can't understand why these "kids" would be "souless" as I beg to differ. Yes, they aren't the kind of such as Yundi Li, Kissin, Zimmerman, or Trifono, Yuja Wang, etc etc but man they're up there. These guys are no slouch either.
@@jponz85 They are not Souless but perhaps their soul is not suited for music, maybe
STOP OPENING YOUR RICOLAS DURING THE PERFORMANCE. ffs
I was also rather irritated by that sound
sincerely, this pianist doesn't f fit this music ...
huh.....explain.....too many fingers.....hair out of place.....legs too long.....not white enough......btw your English is atrocious and get a hair cut you mess
that would be haircut
Wow what a load of pseudo BS crap the Asian plays the piano well no extra teaching needed he's pretty boring but for Asian that's normal
Im not hater, but his smile (The kid) to each sentence of this master, and the miss of answering, and asking, any question proove his misunderstanding ...
I think the master Speack TOO MUCH !! It's a good think to talk, but it's not fit with this kind of pianist.
Don't criticize him too much. He is not a native English speaker. When you speak foreign languages, it is not easy to answer and ask questions right away. But I agree with you that the master should show more demonstation to this kid rather than speaking to him.
Pianist get too much use to play each song ... (Beethov', Schumann, Schubert... Etc... ) Like a Chopin's song..
Jonathan Marion Song? They are PIECES of music.
Kriesleriana....yuck...too much pedal and too inaccurate.
+Dong-Wan Ha I thought your playing was gorgeous and intelligent. However I wonder how much you feel you learned from Fleischer's remarks, because other than his discussion of Schumann's syncopation, I seldom understood what he was talking about.
Dong-Wan Ha, let the haters go. You were there to learn, and if you did, and enjoyed it, and harmed nobody along the way, that is what matters. Keep on going. You're at the stage where you're considering "other dimensions" to the music you're performing beyond the mere technical, and you _will_ get there if you don't lose heart after comments from folks who only want what they regard as perfection. Best Wishes!
Don't be too discouraged! We all grow along the road to better playing. You did fine. There are all kinds on You Tube. Some are kind of harsh, but try not to worry about it. If you can see where improvements can be made, then you are well on your way to a lifetime of pursuing your pianistic best.
Carl Hopkinson Im waiting for you perfect version..... hahaha! 👌
First Fleisher said “it’s a long piece...” implying that he should omit repetitions, but the guy fussed “I don’t care! I’m playing it complete and shushhhh! audience”