Piano Street's Classical Piano Blog

Russian tone-poet Alexander Scriabin composed his Mazurkas over a period of fifteen years (from 1888 to 1903).

A Mazurka was originally a stylized Polish folk dance in triple meter with a lively tempo and a heavy accent on the second or third beat. It has either a triplet, a trill, a dotted or even eighth note pair before two quarter notes.
The mazurka was a popular dance in nineteenth century European ballrooms.

Scriabin: Mazurka, Opus 3 No 1

These 21 musical treasures, entitled Mazurkas, have often been unfairly regarded as early immature efforts or imitations of Chopin’s 57 Mazurkas from some 60 years earlier, and therefore they have been neglected by many pianists. Stylistically, he was also strongly influenced by Russian composer Anatoly Liadov.

Scriabin’s unique musical vision here was transformed into something striking and original: mazurka-fantasies characterised by extraordinary charm and sensuality, often assimilating the style of late night improvisations.

Alexander Scriabin’s Mazurkas are now available in our sheet music library.
Scriabin: Mazurkas

In addition to his activities on the faculty of the Curtis Institute of Music in Philadelphia, pianist Hugh Sung is working to explore the possibilities and creativity of modern technology in music making and performance.
He applies them, in his ”Visual Recitals,” to promoting and enhancing the wider understanding of music, and to actively engaging the listener at every level. “The Visual Recital” (www.visualrecital.com) is an attempt to help audiences understand and enjoy the syntax of music with visualizations that are scripted and controlled by the musician – a kind of live “Fantasia”, so to speak.

Not only are piano competitions such as the Van Cliburn YouTube-competition and the Minnesota e-Competition moving out onto the web, but students, music colleges, schools and all music lovers now have the chance to gain inspiration and to learn from master classes given by some of the world’s greatest musicians.

The Masterclass Media Foundation is a charity that is creating a unique archive of master classes, many of which will be available on DVD and as Internet downloads. With an estimated 30-40 hours of master classes issued every year, these will form an invalualbe teaching resource for the present and succeeding generations and a means by which the insights and genius of the world’s great musicians of our time can be shared with students all over the world as well as being preserved for posterity.
http://www.masterclassfoundation.org

Magister Musicae

Founded by Fundacion Albeniz in collaboration with Escuela Superior de Música Reina Sofía and with project support from the EU cultural funds, some 3000 hours of master classes in English and Spanish (with English subtitles), with some 20 internationally renowned pianists, will be presented, along with master classes with other instrumentalists and conductors.
http://www.magistermusicae.com/magister-musicae/

In Katie Hafner´s recent book; A Romance on Three Legs - Glenn Goulds Obsessive Quest for the Perfect Piano (2008), the author has avoided well known and often exaggerated stories concerning Gould´s eccentricity. Instead, she focuses on Gould´s musical perfectionism, which was, of course, also quite eccentric.
The main characters in the book are Gould, the Steinway grand of his choice—instrument number CD 318—and his piano technician Verne Edquist. When it was in transport at one point in 1971, this grand piano was subject to a terrible collision and could never be properly restored.
Therefore, ironically, neither of the two Gould recordings of J.S. Bach´s Goldberg Variations (1955 and 1981) were made on Gould´s favourite instrument.

The Aria is played here on a Yamaha grand, shortly before Gould´s death in October 1982.

Glenn Gould´s contribution to to the world of Bach performance was rich and complex.
In addition to adding to the incipient popularity of original instrumental ancient music movement in the 1960s and 70s, Gould´s interpretations taught us about the potential of articulation and tempo (never indicated in Bach’s scores).

In this Aria, Gould uses a slower tempo than usual, giving an improvisational basis for the theme with time to experience both the importance of articulation, baroque decorations and the free, singing melody in a slowly moving harmonic context.
His experiments with time and musical meter truly changed our ideas of how to play Bach.

The legendary German pianist Wilhelm Backhaus (1884-1969) shares his thoughts on piano technique in an interview with Hariette Browner, published in her book Piano Mastery (1915):

- How do I produce the effects which I obtain from the piano?
The young German artist, Willielm Backhaus, was comfortably seated in his spacious apartments at the Ritz, New York, when this question was asked. A grand piano stood close at hand, and the pianist ran his fingers lightly over its keys from time to time, or illustrated some technical point as he talked.

- In answer I would say I produce them by listening, criticizing, judging – working over the point, until I get it as I want it. Then I can reproduce it at will, if I want to make just the same effect; but sometimes Iwant to change and try another.

- I am particular about the seat I use at the piano, as I sit lower than most amateurs, who in general are apt tosit too high. My piano stool has just been taken out for a few repairs, or I could show you how low it is. Then am old-fashioned enough to still believe in scales and arpeggios.
Some of the players of the present dayseem to have no use for such things, but I find them of great importance. This does not necessarily mean that I go through the whole set of keys when I practise the scales; but I select a few at a time, and work at those. I start with ridiculously simple forms – just the hand over the thumb, and the thumb under the hand – a few movements each way, especially for arpeggios. The principle I have referred to is the difficult point; a few doses of this remedy, however, bring the hand up into order again.

The pianist turned to the keyboard and illustrated the point very clearly.

- As you see, I slant the hand considerably across the keys, but this oblique position is more comfortable, and the hand can accommodate itself to the intervals of the arpeggio, or to the passing of the thumb in scales. Some may think I stick out the elbow too much, but I don’t care for that, if by this means the scale becomes smooth and even.

OVERHAULING ONE’S TECHNIC

- I have to overhaul my technic once or twice a week, to see that everything is all right – and of course the scales and arpeggios come in for their share of criticism.
I practise them in legato, staccato and in other touches, but mostly in legato, as that is somewhat more difficult and more beautiful than the others.
Perhaps I have what might be called a natural technic; that is I have a natural aptitude for it, so that I could acquire it easily, and it stays with me. Hofmann has that kind of natural technic; so has d’Albert. Of course I have to practise technic; I would not allow it to lapse; I love the piano too much to neglect any part of the work. An artist owes it to himself and the public to keep himself up in perfect condition – for he must never offer the public anything but the best. I only mean to say I do not have to work at it as laboriously as some others have to do.
However, I practise technic daily, and will add that I find I can do a great deal in a short time. When on tour I try to give one hour a day to it, not more.

Speaking of the action of fingers, Mr. Backhaus continued:
- Why, yes, I raise my fingers whenever and wherever necessary — no more. Do you know Breithaupt?
Well, he does not approve of such technical exercises as these (illustrating); holding down some fingers and lifting others, for technical practise, but I do.
As for the metronome, I approve of it to cultivate the sense of rhythm in those who are lacking in this particular sense. I sometimes use it myself, just to see the difference between the mechanical rhythm and the musical rhythm – for they are not always the same by anymeans.

- Do you know these Technical Exercises of Brahms? I think a great deal of them, and, as you see, carry them around with me; they are excellent.

- You ask me about octaves. It is true they are easy for me now, but I can remember the time when they were difficult. The only alternative is to work constantly at them. Of course they are more difficult for small hands; so care must be taken not to strain nor over-tire the hand. A little at a time, in frequent doses, ought in six months to work wonders. Rowing a boat is good to develop wrists for octave playing.

- You ask if I can tell how I obtain power. That is a very difficult question. Why does one child learn to swim almost immediately, while another cannot master it for a long time? To the first it comes naturally—he has the knack, so to speak. And it is just so with the quality of power at the piano. It certainly is not due to physique, nor to brute strength, else only the athlete would have sufficient power. No, it is the ‘knack,’ or rather it is the result of relaxation, as you suggest.

- Take the subject of velocity. I never work for that special thing as some do. I seldom practise with great velocity, for it interferes with clearness. I prefer to play more slowly, giving the greatest attention to clearness and good tone. By pursuing this course I find that when I need velocity I have it.

- I am no pedagogue and have no desire to be one. I have no time for teaching; my own studies and concert work fill all my days. I do not think that one can both teach and play successfully. If I were teaching I should no doubt acquire the habit of analyzing and criticizing the work of others; of explaining and showing just how a thing should be done. But I am not a critic nor a teacher, so I do not always know how I produce effects. I play ‘as the bird sings,’ to quote an old German song.

MODERN PIANO MUSIC

- Your MacDowell has written some nice music, some pretty music; I am familiar with his Concerto in D minor, some of the short pieces and the Sonatas. As for modern piano concertos there are not many, it is quite true. There is the Rachmaninoff, the MacDowell I mentioned, the D minor of Rubinstein, and the Saint-Saensin G minor. There is also a Concerto by Neitzel, which is a most interesting work; I do not recall that it has been played in America. I have played it on the other side, and I may bring it out here during my present tour.

A BRAHMS CONCERTO

As I listened to the eloquent reading of the Brahms second Concerto, which Mr. Backhaus gave soon afterward with the New York Symphony, I was reminded of a memorable event which occurred during my student days in Berlin. It was a special concert, at which the honored guest and soloist was the great Brahms himself. Von Bülow conducted the orchestra, and Brahms played his second Concerto. The Hamburg master was not a virtuoso, in the present acceptance of the term: his touch on the piano was somewhat hard and dry; but he played the work with commendable dexterity, and made an imposing figure as he sat at the piano, with his grand head and his long beard. Of course his performance aroused immense enthusiasm; there was no end of applause and cheering, and then came a huge laurel wreath. I mentioned this episode to Mr. Backhaus a few days later.

- I first played the Brahms Concerto in Vienna under Hans Richter; he had counseled me to study the work. The Americans are beginning to admire and appreciate Brahms; he ought to have a great vogue here.

- In studying such a work, for piano and orchestra, I must not only know my own part but all the other parts—what each instrument is doing. I always study a concerto with the orchestral score, so that I can see it all before me.

Leonard Marx, known as Chico and Arthur Marx (previously Adolph Marx), popularly known as Harpo Marx were two of the Marx Brothers.
Groucho Marx one time said that Chico never practiced the pieces he played. Before performances he would soak his fingers in hot water before going on instead.
He was known for “shooting” the keys of the piano. As part of the act he would play passages with his thumb up and index finger straight — like a gun (he appears in the film “A Year to Remember” (1948) playing an extraordinary “shooting” version of the famous Australian song ”Waltzing Matilda” to a group of Australian soldiers).

Another charming example of his keyboard flamboyance is found in the film ”A Night at the Opera”.

Critics’ choice was Arcadi Volodos´ Liszt recital on Sony, considered a stunning piano sensation in 2007. The recording session was held at the Berlin Teldex studio, which isn’t a particularly intimate venue, and thus the listener has the impression of a champion pianist playing for his own pleasure in a large recital room.
This video pick, however, offers a different acoustic setting altogether, with the grand piano on a boat in the Amsterdam canal. The water level placement of the instrument, the crowds seated all around, and the surrounding townhouses are clearly audible.

Arcadi Volodos performs Liszt´s Hungarian Rhapsody No. 13 at the Prinzengracht Concert in 2001:

What was once a free festival of classical music presented on the canal bank in front of the Hotel Pulitzer in Amsterdam has expanded into a five-day programme consisting of approximately 90 concerts attended by some 50,000 visitors each year.
Named after the canal on which it is performed, the Prinsengracht Concert has its focal pointon an open pontoon moored in front of the hotel. Crowds arrive on foot and by boat to savour chamber music drifting on the early evening air.
Organised by the Pulitzer Hotel, the performances by renowned musicians take place on the banks of the canal, on boats and on various bridges over the canal. The waterside trees are illuminated, creating a magical effect for the event. An alternative indoor venue is available in case of bad weather.

A French museum has found a previously unknown piece of music handwritten by Mozart. The melody sketch is missing the harmony and instrumentation but was described as an important find.

Ulrich Leisinger, head of research at the International Mozarteum Foundation in Salzburg, Austria, said there is no doubt that the single sheet was written by the composer. “His handwriting is absolutely clearly identifiable,” he added. Circumstantial evidence, including the type of paper, suggests Mozart did not write it before 1787 (he died in 1791).

The work, described as a preliminary draft of a composition, was found by a library in Nantes in western France as staff was going through its archives. The sheet was passed on to the library by an autograph collector in the 19th century and was catalogued back then as part of the library’s collection.

“It’s a melody sketch so what’s missing is the harmony and the instrumentation but you can make sense out of it,” Leisinger said. “The tune is complete. It’s only one part and not the whole score with eight or twelve parts.”

Evidently it is possible to get a feeling of what Mozart meant although we do not know how he would have orchestrated it.

There have been about 10 important Mozart finds over the past 50 years.
If sold, the single sheet would likely be worth around $ 100,000. In all, about 100 such examples of musical drafts by Mozart are known about. Many are notes for works that he went on to complete.

In order to keep good track of events around the world associated with the Messiaen Centenary celebrations, this is a very useful website with festival announcements, a calendar and recommended CDs:

http://www.oliviermessiaen.org/messnews.html

For example, the Messaien 2008 International Centenary Conference took place at the Birmingham Conservatoire, from 20-24 June 2008.

http://www.conservatoire.bcu.ac.uk/messiaen

The great Philips compilation—Great Pianists of the 20th Century—includes two CD:s with György Cziffra (1921-1994). One contains works by Chopin, the other by Liszt.

Many of Cziffra’s recordings are controversial, and they are claimed by some to be showy and unmusical. Others regard these reactions as professional jealousy. In any case there is little doubt that Cziffra had a remarkable virtuoso technique, and was a master at improvisation.

His teachers at the Franz Liszt Academy of Music in Budapest included Ferenczi and Dohnányi. He was the son of Hungarian Romas (his father, György Cziffra Sr., was a cimbalom player and played in cabaret halls and restaurants in Paris in the 1910’s).

Apart from his technical ease, the ”airy” cimbalom soundscape and pedal technique are very obvious in this rendition of Liszt´s Gnomenreigen.

Franz Liszt is renowned as a truly remarkable and versatile 19th century musical personality.
He used sacred subjects for many of his piano works. Examples include “À la Chapelle Sixtine,” based on melodies by Mozart and Allegri, as well as “Alleluja” and “Ave Maria d’Arcadelt”, and the two Legends “St. François d’Assise” and “St. François de Paule, marchant sur les flots”.
The two pieces “Illustrations de l’Africaine” on melodies by Meyerbeer are also to some extent in the sacred style, as is Liszt’s transcription of a scene from Verdi’s opera “Don Carlos”.

Liszt, of course, also composed works with profane themes, such as the Two Concert Etudes “Waldesrauschen” and “Gnomenreigen”.