We were so fortunate to have had the students of Josef Lhevinne in our midst. God help us if we didn't deliver the goods, right? It was as if our lives depended on it. But think about it: the traditions of Josef Lhevinne were taught by him at the former Juilliard School during his lifetime, with the hope that his traditions would be handed down to his students and further.
@@biegel88 I'd like to know your fingering for the Feux Follet double note chromatic runs. I tried to slow down one of your videos to see it. Would you advise any preparatory exercises for Feux follets specifically? It would be great if you could do a demonstration video on that piece! :)
Luke Burke I usually use 4-5 for upper notes to relax hand. Slow study legato upper notes, soft and staccato thumb and second finger. This should help ease the work and make stronger part of hand lighter while strengthening upper fingers 4 and 5. Hope this helps.
@@biegel88Thanks. But do you play the lower voice staccato and the upper legato only when practising? So for that scary chromatic double note passage for the upper voice do you ONLY use 4 and 5, or do you also use 3? For that scary chromatic double note passage for the upper voice I've been using 3-4 4-5 3-4 4-5 5-4 4-3 5-4 4-3, but I don't think this actually works because the hand stiffens when you have the repeated note played with 4 and 4. What do you think? I used to do (for the upper voice) 3-4 3-4 3-4 3-4 5-4 5-4 5-4 4-3, but I found that involved moving the hand too much. The trouble is I don't think I have the strength in my 4th and 5th fingers, so perhaps I need to do some 4th and 5th finger exercises first, or perhaps Chopin op 10, no. 2.
Luke Burke for practice only. 3-4 tightens the hand. Secret is a free palm under the fingers. Try 4-5 slowly, don’t overdo in one sitting. Remember, the passage is only less than a minute to play. Practice in separate, short periods of time, don’t overdo 4-5.
So much to say! First, thank you! What a marvelous and valuable live demonstration not only of polished double-note technique-we can hear the *inner* notes too!-but of not settling for only that in the performance of this great music. And second, in this you do genuine honor to the Lhévinnes' legacy. Perhaps the single aspect of the Lhevinne(-Marcus) legacy that I cherish the most is the pursuit of technical-expressive excellence in the Romantic tradition without shedding the more classical nuances of touch and tone that Golden Age pianists exhibited in spades but which one hears less and less from the mid-20th c. onward. Your delicate finger and wrist work, for example, are sadly rare-pastels that many ignore in favor of the bolder oils, so to speak, and which add charm, elegance, and noble restraint to the more common attributes of power and brilliance. All of which you clearly exhibit here. Bravo! (P.S. Humbled to belong to the same pianistic lineage-studied with your friend Norman at USC a while back.)
Thank you so much for your beautiful message, truly. Your words touched me in many ways, especially referring to the legacy of the Lhevinnes and the style of playing they taught to the brilliant pianists of their time. You were fortunate to study with Norman, and I hope to have the pleasure of meeting you someday!
The HARDEST double-note piano piece ever written has to be Brahms' etude on Chopin's etude Op 25-2. To my knowledge, nobody has ever performed this piece live in concert.
I was thinking about that one too! For many pianists, the biggest problem in that piece is the fact that the doubles are major thirds, unlike the thirds in Chopin 25/6. The real challenge for me though is the 'jumpy' left hand throughout the piece. Surprisingly, the infamous left hand octave jumps near the end are actually not that hard once you get used to them. By the way, the best performance of that Scriabin's etude I have ever heard is a live recording by Sokolov. Just sheer perfection!
Bravo! Jeffrey Biegel's thirds (especially in this Chopin Etude) were famous back in school days at Juilliard and are still phenomenal!
We were so fortunate to have had the students of Josef Lhevinne in our midst. God help us if we didn't deliver the goods, right? It was as if our lives depended on it. But think about it: the traditions of Josef Lhevinne were taught by him at the former Juilliard School during his lifetime, with the hope that his traditions would be handed down to his students and further.
@@biegel88 I'd like to know your fingering for the Feux Follet double note chromatic runs. I tried to slow down one of your videos to see it. Would you advise any preparatory exercises for Feux follets specifically? It would be great if you could do a demonstration video on that piece! :)
Luke Burke I usually use 4-5 for upper notes to relax hand. Slow study legato upper notes, soft and staccato thumb and second finger. This should help ease the work and make stronger part of hand lighter while strengthening upper fingers 4 and 5. Hope this helps.
@@biegel88Thanks. But do you play the lower voice staccato and the upper legato only when practising? So for that scary chromatic double note passage for the upper voice do you ONLY use 4 and 5, or do you also use 3? For that scary chromatic double note passage for the upper voice I've been using 3-4 4-5 3-4 4-5 5-4 4-3 5-4 4-3, but I don't think this actually works because the hand stiffens when you have the repeated note played with 4 and 4. What do you think? I used to do (for the upper voice) 3-4 3-4 3-4 3-4 5-4 5-4 5-4 4-3, but I found that involved moving the hand too much. The trouble is I don't think I have the strength in my 4th and 5th fingers, so perhaps I need to do some 4th and 5th finger exercises first, or perhaps Chopin op 10, no. 2.
Luke Burke for practice only. 3-4 tightens the hand. Secret is a free palm under the fingers. Try 4-5 slowly, don’t overdo in one sitting. Remember, the passage is only less than a minute to play. Practice in separate, short periods of time, don’t overdo 4-5.
So much to say! First, thank you! What a marvelous and valuable live demonstration not only of polished double-note technique-we can hear the *inner* notes too!-but of not settling for only that in the performance of this great music. And second, in this you do genuine honor to the Lhévinnes' legacy. Perhaps the single aspect of the Lhevinne(-Marcus) legacy that I cherish the most is the pursuit of technical-expressive excellence in the Romantic tradition without shedding the more classical nuances of touch and tone that Golden Age pianists exhibited in spades but which one hears less and less from the mid-20th c. onward. Your delicate finger and wrist work, for example, are sadly rare-pastels that many ignore in favor of the bolder oils, so to speak, and which add charm, elegance, and noble restraint to the more common attributes of power and brilliance. All of which you clearly exhibit here. Bravo! (P.S. Humbled to belong to the same pianistic lineage-studied with your friend Norman at USC a while back.)
Thank you so much for your beautiful message, truly. Your words touched me in many ways, especially referring to the legacy of the Lhevinnes and the style of playing they taught to the brilliant pianists of their time. You were fortunate to study with Norman, and I hope to have the pleasure of meeting you someday!
Yeah the Chopin etude.......Mr. Biegel you motivated to practice hard!
Hope to hear you play it someday, Benjamin!
Very motivating video for pianists and anyone in general, thanks!
I love Liszt feux follets but it’s too hard for me. Nicely played
Your thirds are really legato and beautiful. Amazing performance!
Hugs from Portugal :)
pure delight to listen to!!!! bravissimo
Such an intimidating piece of work
best version of these pieces!!
best interpretation of fuex follets i have ever heard
Kissin?
Bermann, Ashkenazy Richter, Berezovksy Kissin Beisembayev and more! This is fine but it isn't up there.
To the man sat at the piano, thank you for this!
..and would you like to go for a drink some time?
I'm paying ✌
Wonderful!
The HARDEST double-note piano piece ever written has to be Brahms' etude on Chopin's etude Op 25-2. To my knowledge, nobody has ever performed this piece live in concert.
Not many have heard of the piece either.
@@advikthepianokid4583
ruclips.net/video/l4hZYmrFlp8/видео.html
What's your opinion??
It's nasty, but I think Delaborde's sixths etude is even moreso, with a horrifying prestissimo cadenza
Just watching this makes lions feel tired.
And now, Godowsky études 36, 4, 14, 15 ! Schumann and Liszt especially were too slow, it's becoming another piece. Great sound.
What about Scribin's op 8-10?? Way harder than Chopin's op 10-7 or op 25-6.
I was thinking about that one too! For many pianists, the biggest problem in that piece is the fact that the doubles are major thirds, unlike the thirds in Chopin 25/6. The real challenge for me though is the 'jumpy' left hand throughout the piece. Surprisingly, the infamous left hand octave jumps near the end are actually not that hard once you get used to them.
By the way, the best performance of that Scriabin's etude I have ever heard is a live recording by Sokolov. Just sheer perfection!
Coincidentally some of the most ugly sounding studies in the literature.
Chopin's and Rachmaninoff's are beautiful