Brahms: Capriccio in b minor Op. 76 No. 2 (Aaron Petit)
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- Опубликовано: 24 авг 2024
- For information about virtual Piano Lessons on Zoom or in-person in Portland, Oregon, please visit www.aaronpetitpiano.com
Aaron Petit, 21, plays Brahms
Recording- Adam Lansky
Hall- Classic Pianos Recital Hall
Teacher- Mark Westcott (www.markwestcottpianist.com)
and Santiago Rodriguez
aaronpetitpiano
A superbly colorful and imaginative interpretation, played with great technical precision and artistic imagination. The contrast between the playful outer sections and the lyrical middle part is communicated with eloquence.
Expertly done! Very articulate, clear as crystal. Great job!
Thank you, Ted.
Aaron, will you play Claire Dr Lune for your Auntie?
Superb Nephew!
I love the crisp staccato you give the piece! I was interested to know whom you found more challenging: Liszt or Brahms? Apples and oranges, I know, because they're so different :-)
Funny you mention that. When I was a kid, my teacher said that my staccato sounded like wilted lettuce despite me trying to "attack" the note sharply. While attending Interlochen's summer piano institute, the faculty mentioned how unexciting my Bach Italian concerto was with the staccato. He said "Imagine a mosquito landed on your finger (Interlochen is in the hot and muggy woods so it was very literal) and you have to launch away that bug with great speed." After that, it clicked. Staccato has nothing to do with how the note starts, but how quickly it ends. :)
Glad you like both pieces. As for Brahms vs. Liszt. I have played roughly 90 mins of both composers. Liszt is much harder to get to tempo initially, but in general- he's way more comfortable and pianistic. Brahms is much more challenging to balance and pull off musically. He's fussy, and difficult to manage with dynamics and pedaling and texture, etc.
Man, sounds like you had some pretty remorseless (albeit, effective) teachers!
And I'd understand how Brahms could seem very humbling to pianists, given that the performance difficulties are not readily apparent to the listener. He seems to have loved the middle and lower registers on the piano, and in those ranges it's very hard to balance out the voices, as you said, and not have it sound like mud! You have to put a lot of physical demands into music that doesn't allow you to show off, the way Liszt or Rachmaninoff do. I absolutely LOVE Brahms, to be sure, but it does seem like he was always struggling a bit to realize his beautiful ideas and textures on the piano. It's hard to get the acoustic realities of the instrument to not fight the music.@@AaronPetitPiano
Have you thought about playing some of the Scriabin sonatas? This sounds really
Good!
Allegretto non troppo? Feels like a Presto.