chopin's op10no4 in under 1'30 seconds with no wrong notes?and also, what about op10no2 in under 1 minute with perfect accuracy?
The best of pianists, the ones that have made it, all have something exceptionally unique and special in their playing that outshine, and cant be possibly ever be compared to, the naive show off, playing in back bars.
ABSOLUTELY WRONG. the one's who have made it professionally have done so on the basis of 2 things: technique and quantity of performable repertoire.and these 2 things can be combined and translated into:how fast it takes you to learn a certain piece to be able to play it at a certain speed with a certain degree of accuracy.
Anyone else tired of all these ridiculous technique based threads? Waste of time.
Tell me, what would be the point in the first place?If someone could do it, it would come across as more naive than impressive.
Who cares? As sonatainfsharp siad, there just is no point. It just shows ignorance rather than musicality.
time is only wasted by those whom are too slow.
Ah yes, but what does "perfect accuracy" entail?
Ah yes, but what does "perfect accuracy" entail? What are it's components? Is it OK to just hit all the notes evenly and precisely? Or does it have to have an emotional quality or affect? If the "emo" aspect is missing, is that like hitting a wrong note? What about dynamics? Tone color? Are these nessacary in our vision of perfect accuracy? Or is it just the notes? Only Rusnak knows....
How the hell can it have emotional quality when your supposed to be able to play it in less than a minute. If i said to you, play raindrop prelude in less than 1.30, there is no way in hell you could play that with emotion...
If you have a problem with threads like these, just don't post on them.
I called it wasted time because pianism is not a sport, it's an art. Technique is nothing but a vehicle to music.
I will say, however, that excessive speed can ruin a piece - even in the hands of a great technician and performer. I have a recording of Argerich's Rach 3 (I know it's cliche, but I like to listen to it) and she fails to bring out so many important melodies because she is trying to replace passion and excitement with some sort of speed overdrive. Don't get me wrong, speed can be very important, but there are times when you either shouldn't play a piece at a certain speed because it compromises other factors of the performance or because it simply starts to sound silly. I finally decided to slow parts of the op.25#12 down because I was starting to lose clarity in the piece. It's one of those pieces that is really hard to forget, so your speed increases a lot if you play it frequently and it can start to sound too muddled. Anyways.....
If you have a problem with threads like these, just don't post on them. Stevie, what are the current records on those pieces? :stopwatch: :dong:
I've though about it for a long time and worked out that it's 42. Really.
pianism is ....a sport
ABSOLUTELY WRONG. the one's who have made it professionally have done so on the basis of 2 things: general well-rounded pianistsic skills, and luck to be at the right time at the right place, and/or to have the right friends.That applies to pretty much any profession, except politics, where having the right friends is the only thing that counts. Here, qualification is often counter-productive.
exactly 14
This gives me an idea. I keep hearing about the slow demise of interest in classical music, based on modern culture, etc. What if we invented a Piano Olympics of sorts, with various decathlon-style events, such as: the scale speed competition, the arpeggio competition, jumps, hand crossing, etc etc. Sort of like the skills competion event they have the professioinal ice hockey guys do. It would be crass and elitist, just like the skills competition, because only the "best" would be invited to compete. The competitors could "act cool" and the public would love it. We could get John Madden to host. Maybe we could bring interest back.......
Alicia de Larrocha suggested this rather dryly and sarcastically in an interview about 30 years ago...
predictably she is a bit on the slow side
Even if you seek to match Chopins metronome marks (not sure if they come out at the tempi you want - but you should check), Chopin's own law was music first and ease of expression - NOT break-neck speed.
Fanny Watermann (the GREAT pianist and Teacher) lamented publically some time ago the fact that there are too many 'musical typewriter's' out there and that far too few are concerned with beauty and sonority. Frankly I couldnt agree more - and the situation has worsened since then. WHEN will people learn that technique IS NOT about speed - it is the Art of playing Beautifully (which may, when required encompass speed). Even if you seek to match Chopins metronome marks (not sure if they come out at the tempi you want - but you should check), Chopin's own law was music first and ease of expression - NOT break-neck speed. Nobody wants to hear a mass of scrambled notes in a concert - and frankly ive heard Big names do that to their detrement. Im sure you dont, but people often abuse the Chopin etudes by riping through them beginning to end and totally missing all the detail in the name of, guess what 'speed'. If you can bring out every musical nuance and detail and play every note clearly so that in a ressonant hall it will sound clearly and if your pedalling is perfection and if your dynamic control is pin point road worth aaand still fit it all into under a minute or whatever you said then Go for it by all means BUT you will probably be the ONLY person in the world who can!
I finally decided to slow parts of the op.25#12 down because I was starting to lose clarity in the piece. It's one of those pieces that is really hard to forget, so your speed increases a lot if you play it frequently and it can start to sound too muddled. Anyways.....
Topic: how many people in the world right now could play... 