On another forum, the OP has indicated this a repeat post from 2006 https://www.pianostreet.com/smf/index.php?topic=22203.msg247848#msg247848
What kind of musician are you and what can you teach your students if you cannot distinguish Tchaikovsky (Pastoral scene from his opera The Queen of Spades - Duet Prilepa and Milovzor) from Clementi's sonatina?
YOU are the one that posted on PianoWorld that this was a duplicate thread from historical Piano Street. You further stated this was all a game, as the internet a game!!!! https://forum.pianoworld.com/ubbthreads.php/topics/2825299/which-of-these-three-have-i-to-choose-help-me-please.html#Post2825299
I understood that the link to the 2006 thread had to do with a similar or same idea, using a different piece, and highlighting discussion at that time.
"One says: it is you. Another says: it can not be you."Vlad, on this philosophical conundrum of whether it is 'you' or not, our resident fraud czar, Mr. Podesta, will be on the case, shortly.
Hi VladimirOut of the three, I think I prefer the first one, Student A because, without going into too much detail, it sounds smoother and more legato and flows a little more nicely. I don't have a problem with whether the player is you or not for all three renditions (although all sound similar in many ways).
"I think intensity is one of the most important factors in performance. By intensity I mean (insert your definition).....Here is an example of my playing a piece without intensity (insert link).......And here I have tried to play the same piece in exactly the same way, except that I've added as much intensity as I can (insert link). Do you agree that adding intensity makes the performance much better? What do you think?"If you'd written your original post(s) like this, you'd have avoided all the wrangling; or at least all the wrangling would be about "intensity", not about whether you were really choosing between different students.
Other people died trying to get into the concert hall climbing outside the building, etc. This attitude towards classic music is gone because of the WRONG language of modern musicians.
The irritation comes from the extraneous things. Every time you write about the wrong teachings that a vague set of musicians are supposed to have, and the self-praise of how superior were in your country, this turns people off. I don't know whether it is cultural - whether this kind of tone attracts people to make them want to listen from what you are used it - here it is a turn-off. It moves people away from curiosity. I'm still here despite this. Grandiose statements about groups who are "brainwashed", when none of us can know what everyone is taught (again). What for? How does that help you bring across anything?Which do you want to do? Bring across musical ideas? Or discuss what masses of people are supposedly learning wrong? Education across the world, or educate? The constant duality of the two messages cancel each other out.
However, not a single pianist has posted in response his recording of these most popular works, saying with this: “Listen! I play it like this, differently and it sounds good as well.” This is the normal communication of musicians through their music.
Yes, that is true, but only within their peer group/community.You are not part of that group because you have alienated them. keypeg and others have tried to explain to you how you can change that but you resist every attempt, in the certainty you have it right.
Yes, and I think that if any of the professional pianists here posted their interpretation of the suggested music , Vladimir would only find fault with it. So what is his point.
No one hears all own mistakes. So, EACH of us needs somebody else opinion, criticism, corrections, etc.
I talked about my successful concert trade (artistic agency) in order to confirm that I hear well: ........
Thank you for your response and explanation, Vladimir. Please be aware that I gave my feedback in case it might help you in regard to the irritation you're seeing to your puzzlement.From what you are saying, you are trying to create trust and confidence in your expertise through your anecdote. That is your purpose. But this approach does not have that desired effect on an international Internet culture, mostly Western. Here's why:On the Internet, anybody can claim anything. In general, on a site where there are serious people, they look for the facts, ideas, demonstrations, and arguments by their own merit. Those with knowledge will judge based on their knowledge and the logic. Those with less knowledge will try to get a feel for plausibility. HOWEVER, as soon as a poster writes grandiose things about themselves, even if true, these are things that snake oil salesmen, and those out for admiration will do. You'll be taking on the tone and style of a huckster, and the tone itself will take away from the plausibility of what you are saying. I feel that one reason that you are getting resistance and hostility is not due to what you are trying to present, but due to the things you are saying in order to be believed.Here is an analogy. We'll invent a fictional country. In that country, anyone who is a liar is condemned to wear a tall yellow hat. A stranger comes into the country, and he wants to make himself known. He is short, so he decides to wear a tall hat, and since he wants it to be bright and stand out, he makes it a yellow tall hat. And then he can't figure out why nobody will believe him - because he doesn't know the association people have with tall yellow hats.
I do not lose hope to find at least a few people who would be interested in talking seriously about the intensity and its practical application in performance and pedagogy.I am completely indifferent to the popularity or lack of it among people who are not interested in this topic.