Comments on: Franck Miniatures – Sheet music and recordings http://www.pianostreet.com/blog/site-news/franck-miniatures-sheet-music-and-recordings-1373/ - your guide to the classical piano world Wed, 01 Feb 2012 21:15:45 -0600 http://wordpress.org/?v=2.8.4 hourly 1 By: Piano Teacher http://www.pianostreet.com/blog/site-news/franck-miniatures-sheet-music-and-recordings-1373/comment-page-1/#comment-7596 Piano Teacher Sat, 31 Oct 2009 02:14:52 +0000 http://www.pianostreet.com/blog/?p=1373#comment-7596 Thanks for this post. You've got a very nice and interesting blog here. I always feel glad whenever I encounter people who have the same passion and love for music like what I actually have. I also admire your efforts to share your bright ideas on music. In this post, I was able to encounter César Franck and knew he was a Belgian composer, an organist and a music teacher - one of the great figures in Romantic music in 19th century. Anyway, thanks again for sharing and please keep on posting useful piano teaching resources. Have a nice weekend, my friend. See you around. Cheers! Thanks for this post. You’ve got a very nice and interesting blog here. I always feel glad whenever I encounter people who have the same passion and love for music like what I actually have. I also admire your efforts to share your bright ideas on music. In this post, I was able to encounter César Franck and knew he was a Belgian composer, an organist and a music teacher – one of the great figures in Romantic music in 19th century. Anyway, thanks again for sharing and please keep on posting useful piano teaching resources. Have a nice weekend, my friend. See you around. Cheers!

]]> By: Pathan Krakauer http://www.pianostreet.com/blog/site-news/franck-miniatures-sheet-music-and-recordings-1373/comment-page-1/#comment-7593 Pathan Krakauer Thu, 29 Oct 2009 06:45:32 +0000 http://www.pianostreet.com/blog/?p=1373#comment-7593 "henrik" wrote: [in] "recording the pieces such fingering were not always used and I instead utilized the right pedal to achieve a more natural and pianistic style of playing. Which way to deal with this issue is up to each pianist’s own decision." Well, with all due respect, Today my fellow teachers use exactly the same reasoning to justify, en masse, their doing away with finger legato and replacing it with pedal - as much as it's only possible; many transfer students I get tell me they were taught that to play legato means to use sustain pedal all the time, and they know nothing of holding the longer values longer, of finger substitution etc... This is the one, the only one, and en masse result of "leaving it to each pianist’s own decision." And it's so often implied today that doing it the "easy way" is as good as the "harder way". When did it all change? Moreover, an experienced ear can hear the difference between finger legato and pedal-based legato (when the former is desirable and feasible). Should those capable render themselves unable to hear the difference? A little respect for the composers' indications and the period's performing practice could also guide us here. In Franck's time, a piano-player found permanently prone to substituting pedal-based legato for the finger sort would have not been recognized as a pianist! “henrik” wrote: [in] “recording the pieces such fingering were not always used and I instead utilized the right pedal to achieve a more natural and pianistic style of playing. Which way to deal with this issue is up to each pianist’s own decision.”

Well, with all due respect,
Today my fellow teachers use exactly the same reasoning to justify, en masse, their doing away with finger legato and replacing it with pedal – as much as it’s only possible; many transfer students I get tell me they were taught that to play legato means to use sustain pedal all the time, and they know nothing of holding the longer values longer, of finger substitution etc…
This is the one, the only one, and en masse result of “leaving it to each pianist’s own decision.”
And it’s so often implied today that doing it the “easy way” is as good as the “harder way”. When did it all change?
Moreover, an experienced ear can hear the difference between finger legato and pedal-based legato (when the former is desirable and feasible). Should those capable render themselves unable to hear the difference?
A little respect for the composers’ indications and the period’s performing practice could also guide us here. In Franck’s time, a piano-player found permanently prone to substituting pedal-based legato for the finger sort would have not been recognized as a pianist!

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