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Joined: May 2001
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Originally posted by pianovirus:
To reveal my ignorance, I can't recall where this image comes from? But it definitely reminds of the Kempf setting. The image comes from near the close of Stanley Kubrick's amazing film : "2001 : A Space Odyssey," arguably one of the ten greatest films ever made. Regards,
BruceD
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Estonia 190
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Originally posted by pianovirus: [...]For example, I like this performance a lot in terms of all these components. Of course, there are so many other good performances around. An example of a performance that does not look so effortless and also sounds a tiny bit clumsy to me (on a very high level) is this . Also the left hand is much too loud in this case for my taste. Thank you for posting these two videos. Of the two, I much prefer Osaki's; it has an effortless grace, elegance and balance, all of which seem to be lacking - for me - in Kempf's more pedestrian performance. Regards,
BruceD
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Originally posted by BruceD:
Thank you for posting these two videos. Of the two, I much prefer Osaki's; it has an effortless grace, elegance and balance, all of which seem to be lacking - for me - in Kempf's more pedestrian performance. One of the reasons I found Kempf's the more appealing is that emulating it is a far more reasonable goal for me! Bruce, wouldn't it be funny if a pianist's "pedestrian performance" meant it sounded like he was playing with his feet? Or ... was that what you meant?  Steven
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Duh, I absolutely knew it was from some movie. Thanks, BruceD, for reminding me of 2001 (to be very honest, I always found this cult movie a bit boring...). But at least I'm glad somebody else found a rather strong contrast in the two videos I posted.
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Originally posted by sotto voce:
[...]One of the reasons I found Kempf's the more appealing is that emulating it is a far more reasonable goal for me!
[...]
Steven : Since I couldn't hope to emulate either performance, I chose the high road! Cheers!
BruceD
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Originally posted by T.S.R.:
Don't hold the chords longer than the indicated note value. You'll have a better time navigating the other fingers quickly if you release those chords quickly too. I agree. But, just because it is interesting that it exists, I thought I'd mention that Chopin also made a version (not published in his lifetime) in which almost all of the chords are held for the whole beat, i.e., they are quarter notes. It's even more difficult, of course, and I'd bet it would likely to cause injury unless one were exceedingly careful. The Badura-Skoda edition includes it.
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Originally posted by wr: Originally posted by T.S.R.:
[b] Don't hold the chords longer than the indicated note value. You'll have a better time navigating the other fingers quickly if you release those chords quickly too. Playing the chords as quarter notes (and the 16ths staccato at the same time) is also one of the exercises that Cortot suggests. It is a useful exercise to maximize the independent action of the fingers. But I agree with you: one should not practice in this way for too long (stop at the first sign of fatigue), in order to avoid injury. Another useful exercise is to play each chord twice -- on the beat, and a 32th before the beat. This helps to practice the fast release of the chords.
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