She's been playing the Chopin Op 2 since at least the late 90s, so it's definitely not new or unfamiliar to her.

-Daniel

Her energy, focus, capacity, and endurance during those practice sessions is unlike anything I could imagine.

Not only is it an inspiration for me to practice with greater focus, but what a joy it is to watch and listen to such a gifted pianist play all those pieces. Look forward to a time when she comes to Denver!

Glen

No wonder she is so good. Since I came to the office, I turned on her practicing website. I have been working more than 4 hours, and she is still practicing....

This is the way to improve!!

There is no reason for me to doubt that this is the way "for her" to improve. But I think one needs to be a bit more careful about generalizing it. At least, according to his one of his DVDs, Hamelin would spend some time just walking and thinking about his music. Or, Richter stated that he would almost never practice more than 3 hours each day.

But Richter was no ordinary mortal.

I am not going to assume that she is ordinary mortal. If both she and Richter are no ordinary mortal, there seems to be a difference in their attitudes toward practice time.

Richter said that but apparently Nina Dorliak said different.

Considering Richter, I believe Nina.

Definately In his DVD he mentions the 3hrs thing, then the interview cuts to her laughing at that quote and doesn't she mention that he did '8-9hrs'? Then the camera cuts back to Richter and he then has to concede:

"...well, sometimes... if I had to learn something at short notice".

So from that, I would believe Nina also!

Her technique is fluid and relaxed but does anyone else find her dynamics rather flat?

I would venture to guess that that is an artifact of the compressed internet stream.

I think you are right. Last night I compared a video I posted on youtube with the original file I have, the one on youtube clearly does not sound as good as the original file.

Also, she *is* practicing. She's making music out of it, of course, but maybe there's a layer of expression that she's holding back on, at least for some of the session.

Still the coolest and most illuminating thing I've seen online in years.


-Jason

She is PRACTICING, not performing.

I find it all very intriquing.

PL, last nite she verified your note on all three being used in her playing at the same time - in a chat session at midnight.

Such a gift this is... Astonishing!

Glen

Last weekend for this, don't miss it if you haven't seen it already. Last two days!

I also think anyone can set up this kind of thing. Nice piece of furniture at the moment and as I'm going to bed too, that's fine by me.

This was very inspirational. One thing I found interesting was Val's explanation for the big cussion on top of the piano - to protect her from broken strings - apparently she broke 15 learning Prok second. I was guessing she probably slept there!

I wonder how many others at her level do 12 hours+ practice (but just don't admit it)..

Most of them.

Maybe that's the definition of her level. The ones above that level don't need to.

Didn't Chopin say that more than 3-4 hours was useless and harmful? Not that his is the only word on the matter, but I really don't think that many of the top level pianists go in for that kind of grueling schedule unless it is some kind of extraordinary situation, and then they only do it for a short period. At least that's the impression I get from the ones I've known, and from reading what various top pianists and teachers have to say about practice.

To my ear, Lisitsa's YouTube performances (I've never heard her live) have an oddly mechanized quality that can come from over-practice, and I don't think it does much for the music.

I heard once from an acquaintance who works in the music "industry" that many rising pianists learn and maintain vast amounts of repertoire so as to be able to jump in as replacement for a more prominent artist. Often this affords them a great opportunity for future bookings if things go well. Apparently organizers at large venues favor minimizing additional disruptions to the program and prefer to replace their canceled artist by either an equally famous pianist or a more obscure one who would stick to the announced program.
I don't know how universally true that is or if it even applies to Ms Lisistsa's 55 pieces. But nobody plans to perform that many different pieces in a single year, to my knowledge (and I often scour concert schedules )..

She probably does plan to perform that many pieces in a year, some pianists like to have many different programs.

Remember when the rolling stones said during one tour no two concerts would have the same set. Though, it is probably difficult to maintain that number of pieces, hence the crazy practice schedule. Or maybe the opportunities to practice won't be there on the road.

I do not think it speaks to how good or bad she is as a pianist, we all see how good she is, and it is up to each of us to form our own opinion of that. How she maintains that in the end is her own business.

My own personal opinion was I did not like watching someone else practice. Two things go through my head, first and foremost, why am I not practicing? The second is I sometimes feel that it is simular to the magician who reveals how to do his tricks, it takes away more in the end. It takes away of the amazment I have of the performer. This is still true, despite me knowing how to practice, or at least know a way that has worked for me. Each pianist is unique and brings something new to the table, something to be amazed of.

There is something missing here. Her performances are much more musical and nuanced than these practices, which tells me these are really efforts to maintain note-perfect performances and maintain a memory of these pieces. Where does she get the time, then, to work on the music? It just doesn't appear magically after doing 14 hours of practice like this every day.

Agree with Numerian. I remember reading somewhere (and being told by my teacher) that Neuhaus often recommended that his students visit museums, read world literature, music history etc so as to enrich their artistry. At some point, there has to be more than note readiness. I am not saying Lisitsa does not seek to enrich her artistic side. I simply do not know much about her, but surely occupying oneself with this practice for 14 hours a day leaves little time for much else.

I also wonder when does a performing pianist really put together a piece, ie architecture, tempo modulation and other nuances. Does it simply occur at the time of performance or does she /he "plan" it or study it ahead of time? Or, as is more liekly the case, does it vary among pianists?

She mentioned in a chat session after one of her practices that she likes to read; in fact she likes to read history. Maybe influence of Neuhaus.

After that much practice and complete technical mastery of the pieces she is playing, all that is left to focus on in concert is the musicality of the piece.

Perhaps when ones technique is as formidable as Lisitsa's and one's memory as prodigious, its far easier for one to be spontaneously musical.

Once you can play the notes with the speed, dynamics, and accuracy that you want, the musicality should be easy (not to mention, subjective).

Yes. And furthermore, this was only one week. I don't think we can assume that every week for her is like this one. I'm sure she will have plenty of time on airplanes and in hotel rooms to practice away from the score and work on the things that aren't physical.

Was anyone else surprised by the level of (un)readiness of Brahms PC2, given that she'll be performing it in 1 week? It's amazing to me how quickly someone like that can bring up a piece to performance level. I know she's played it in the past, but from her schedule it looks like the first performance of the piece in 2010.