Update-And, how to fake effectively!
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- Опубликовано: 10 сен 2024
- Music in the intro and outro is Earl Wild’s Etude no. 1 after George Gershwin’s “Liza”
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Welcome back! Everything you mentioned sounds exciting! I am definitely curious about the Barber and Schubert's Wanderer. As much as I believe in careful study of the score, I think the academic essentialist approach that has dominated the classical music world the past 70 years often hinders the true realization of the potential of music. Performers naturally should have certain creative liberty and say, and as Jorge Bolet once said, we live and work on the compositions our entire lives whereas the composers just give birth to them, so it is not necessarily arrogant to think that we can find solutions that composers may not have realized in the moment they composed it. Performing is an act of creation, and not mere reproduction, after all. I also don't see your work on this channel as mere explanations either, but rather inspired insights that breathe new life into these works you discuss. Please continue at any pace that works for you, as long as you continue 😉
Thankyou for your continued work on this channel, it's one of my favourite treasures on RUclips.
The work you do is greatly appreciated, it's greatly illuminating to hear these "nerdy" insights into the music! I don't use the word "nerdy" as a negative, on the contrary - a massive positive!
You nerd out on the details that matter and shed light on things we don't notice via casual listening.
I love Earl Wild's Gershwin Etudes, but even more than those - I adore his Rachmaninoff song transcriptions. I casually play piano myself and one of my goals is to be able to improvise in a somewhat "Rachmaninoffian" manner - I am not someone who has the ambition or time to learn tons of repertoire but sight reading these and absorbing the style of the harmonic, melodic and pianistic vocabulary - it's really great for stimulating the imagination.
This music is like Scriabin for me - something about the harmonies is so stimulating even at slow sight-reading tempi. The sonorities and sound-world of his music somehow makes slow-practice a bit more tolerable - certainly more tolerable than less harmonically rich music!
For example -while Beethoven is of course excellent music at tempo - slow-practice of his works is a real slog!
Thanks again for the great work, long may it continue!
I love Wild’s Rachmaninoff transcriptions also-I will feature several of them in the future. They are right up there with Rachmaninoff’s own transcriptions in quality. Thank you for your comment!
Thankyou for the talk. So good to see your face and hear your thoughts. And it's so true not only pianists but composers are always trying to figure out better solutions and approaches like liszt was always reworking and solving challenges in his own pieces.
You are forgiven for a worrying absence . . . as no weekly fix of CA is like a starvation diet! (And ouch . . . having to tackle music from inexperienced composers! I'm now wracked with guilt!)
It's refreshing to hear a performer of your virtuosic stature acknowledge that some passages of music are impossible to play as written and that it is perfectly acceptable to work on solutions that are a 'best fit' alternative. And seeing you at work with practice solutions will be most encouraging for those who have been made to think that a score is sacrosanct. Bravo, Cole!
Thank you Graham! Also... you don't count as "inexperienced" at all. Your piece fits under the hands as smooth as can be!
You works so hard! Good luck!! 🍀
your back. im so happy
The outro of this video is so cute -- the independent pianist running to his next performance...
You’re channel has really inspired me
hey Cole - welcome back, I'm pleased to see you prioritised appropriately !!! I've been enjoying working on two of the Bach/Busoni chorale preludes (that I discovered through your channel). I played one to my teacher last week, he is a Bach expert (amongst other things) and it was great to bring something new to him. I think I'm ready to record one of them. You commented on taking your technique to the next level. I think this is a generically interesting topic that could you could explore here. For myself, I was stuck at the same level for about 30 years. However, a few years ago (starting with being at home during the pandemic) I decided to try to learn and record pieces that had always been "too hard" for me. Maybe I have more determination now, I'm not sure. But I did achieve my goals and concluded I had found a new gear (and thus was worthy of piano lessons again!!). It was a mixture of believing, not giving up, working hard and spending a lot of time thinking about the music, listening to it, and deciding how I wanted to play it, with all the details that you have to get right (or at least be aware of). There is a long way for me to go, and I am clear what I have to do technically (less clear musically) if I want to play some of those still out of reach pieces (work but work smart). So I am interested to hear what the areas are that you want to work on and how. You are already a very fine musician and technically very very capable. So for you, I guess it will be small increments (whereas I have much more to improve so it's more obvious what I could shoot for).
Yes, I would love to address this topic here as soon as I have formulated my thoughts. Finding a "new gear" is a great way to put it. Every once in a while I have a new epiphany, and that's a time I seem to be going through right now after having felt as though I had more or less plateaued for some time.
my favourite videos of yours is your videos on your favourite performers
Definitely will do more of those!
i'd love to hear what you did with the barber concerto!
He's not dead!
😊
😆
Speaking of the Kapustin sonata, is there a reason why you keep playing A# at the beginning of the development (12/8, the 9th eight-note value)? Textually, it should be A (Kapustin performs it so as well). A# there just grates on one's ears.
I play A natural there-it might have been a slip on my original recording, there were a few wrong/missed notes in that one, but my recent live performance has everything correct there.
Good to hear. I might have misheard it in your latest performance. Thanks for including Kapustin in your repertoire.
I'm glad you're okay
Thanks for sharing your techniques. I hope you have another chance to play the Prokofiev soon.