Russians or russian teachers.

[pianowelsh]

How many of you are Russian or have studied in Russia OR have russian teachers. Its ok this isnt the beginning of a cull.  But I think there is a lot we can learn from the russian school of pedagogy and also a great ammount of Russian repertoire which is relatively unplayed outside of Russian speaking countries.  Perhaps you guys could start some threads on these topics???! Or just reply to ones like the Balakirev question in the repertoire section - Hint hint!!!

[iumonito]

Marik, they are calling your name.

I studied with Lev Vlassenko for a short while.  I assume you only one first generation people, otherwise prettymuch everyone has a Russian in their pianistic ancestry.  So Vengerova, my teacher's (Judit Jaimes) teacher , is out of the picture, right?

[pianowelsh]

If she had a formative influence on you then discuss it. im not so pedantic about such things. If you want to share an anecdote or specifically russian methodology or insight on a particular aspect of the russian repertoire please do so.

[Mozartian]

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[iumonito]

If she had a formative influence on you then discuss it. im not so pedantic about such things. If you want to share an anecdote or specifically russian methodology or insight on a particular aspect of the russian repertoire please do so.

I see.  Well, absolutely.  Judit's approach to piano technique is practical and based on absolute freedom, economy of movement, a healthy dose of rotation and a very intuitive use of the torso and arm to support tone production, very much like a singer would do.  I think of that type of technique as Russian and I believe (although I should not speak for her) that the backbone of her technique (and fabulous musical understanding) comes directly from Ms. Vengerova.

Even though I love a bunch of German and Italian pianists, I think my own roots (that is, how I look like when playing) is more in line with (although naturally not in the same league) Bolet, Vlassenko and the like, which I tend to think ultimately come from Godowsky, the teacher of Neuhaus, who was the teacher of among others Richter and Gilels.

I think it boils down to using the whole body freely to play, putting emotion over analysis (as important as analysis is) and playing with fire even if everything goes to hell.  But then, that's a lot of talk.  You see it in the likes of Demidenko and Pletnev (and not so much in my playing,  ).

[pianowelsh]

thank iumonito - thats more where I was going with the question.  Dont be so hard on your abilities. Theres one pletnev in a generation that doesnt mean to say the rest who follow that school dont have equally fine characteristics. I KNOW there are more of you out there with russian heritage so please cough up!

[pianistimo]

this may be really simplistic to say - but i think that i listen most for the bass voicing in russian pianists playing.  take berezovsky.  i think it's a manly man's playing.  i don't like some things (a little bit too much movement?)- but , if you've ever heard the russian orthodox choirs that they have over there - those basso profundos are stunning.  you have this 'heavy' feel.  like with rachmaninov.  the thickness of the vast russian empire and the heaviness of so much ancient history to the present.  you can hear ancient ancient tunes and immediately realize that they are ancient.  just as with some synagogue music.  i don't know how to explain it other than they LISTEN for the bass to be in tune,too.  everyone else can't hear the bass for some reason.  but russians.  they hear the bass.  the bass line is very important.

[sirpazhan]

My piano teacher was russian-armenian -- and my piano tech is full blown russian.

[pianowelsh]

You sound like the perfect person to answer then. could you describe your 'Russian' approach to playing then and particularly with regard to technique. Perhaps how you approach music by Russian composers too. Also any percieved differences with non russian pianists you know.

[arensky]

I studied with Boris Berman for two years as an undergraduate. He was (and probably still is) very intense, something which I welcomed at that time. At my first lesson he told me that I played too close to the keys and was consequently working my fingers too hard and hampering my tone production. He insisted that I stop this immediately, and whenever I reverted to my old technique he would stop my playing and make me start again. He would constantly reiterate the phrase "from above". It was a difficult adjustment, but my playing soon had  a bigger tone with more color, and I felt more comfortable at the keyboard and was able to tackle some big pieces with greater ease than I would have had before. He told me that he thought most of his American students played too close to the keys.

However I'm not sure if his approach is typical of the "Russian School", if there is such a thing anymore. I think what Russian and Russian trained pianists bring to music is more of an attitude than any kind of specific physical method of playing. As for what that attitude is, will require more thought. But technical mastery (as much as possible), a clear and focused sound and an extroverted audience directed interpretation are definitely part of the Russian way of playing, imo.

[csy]

Oh, where did Boris Berman teach when you studied with him?
I think he is at Yale now. But Yale is only for graduate program.

I studied with Boris Berman for two years as an undergraduate. He was (and probably still is) very intense, something which I welcomed at that time. At my first lesson he told me that I played too close to the keys and was consequently working my fingers too hard and hampering my tone production. He insisted that I stop this immediately, and whenever I reverted to my old technique he would stop my playing and make me start again. He would constantly reiterate the phrase "from above". It was a difficult adjustment, but my playing soon had  a bigger tone with more color, and I felt more comfortable at the keyboard and was able to tackle some big pieces with greater ease than I would have had before. He told me that he thought most of his American students played too close to the keys.

However I'm not sure if his approach is typical of the "Russian School", if there is such a thing anymore. I think what Russian and Russian trained pianists bring to music is more of an attitude than any kind of specific physical method of playing. As for what that attitude is, will require more thought. But technical mastery (as much as possible), a clear and focused sound and an extroverted audience directed interpretation are definitely part of the Russian way of playing, imo.

[arensky]

Oh, where did Boris Berman teach when you studied with him?
I think he is at Yale now. But Yale is only for graduate program.

I studied with him at Boston University where he was on the piano faculty before accepting the position at Yale.