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As the 250th anniversary of the birth of Ludwig van Beethoven (1770-1827) approaches, it is a good time to get in the celebratory spirit by answering some FAQs. A warning, though: behind every seemingly straightforward answer, there are always more questions! 1. What editions should I use? Simple answer: There are excellent Urtext editions av...
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If Mozart had had a modern concert grand piano, would he have composed the same music? Absolutely not! No doubt, he would have been strongly influenced by the characteristics of the modern instrument, and his musical approach on the piano would have been completely different. Why am I so sure about this? Did I have coffee with Mozart? ...
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All learning of complex knowledge and sophisticated skills must be approached by first learning more limited and simplified versions of what students are eventually needing to master. The nature of the simplifications—the substance and magnitude of each task, the sequence in which the tasks are presented, the speed of ...
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F ranz Liszt's beloved Consolation No. 3 in D-flat Major from the Six Consolations S.172, is a character piece frequently performed by the advancing pianist in recital and festival adjudications. Reminiscent of a nostalgic nocturne, Consolation No. 3 features a stunning melodic line and unpredictable harmonic nuances that have surely contribu...
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If someone had told me a decade ago that I was going to produce the first (and, so far, only) published reconstruction of Chopin's posthumous Mazurka in F Minor that includes every uncanceled measure of the composer's sketch, I would have laughed. But apparently when a performance opportunity inspires a research obsession, unexpected things can ha...
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Interest in historically-informed performance continues to evolve as scholars and serious-minded pianists gain more knowledge regarding nineteenth-century performing styles. Though much progress has been made in this field, a question still remains: Is there a definitive performance practice that enables pianists to play the works of Chopin in the ...
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Sound is touch at a distance. Jad Abumrad, from Radiolab "Sound is touch at a distance." I heard this quote at a recent talk given by Radio Lab creator, Jad Abumrad, and I couldn't get it out of my mind. Over and over it repeated itself. Mothers sing to babies after they put them down as a way of continuing physical contact, Jad told us. So, i...
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Wonderful discussion of Debussy's elegant and refined style that gives us so much emotional freedom at the piano. It is also a ver... Read More
Thursday, 12 July 2018 10:22
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Dartington Hall is a creative institution and historical meeting ground for those hungry to explore a new musical landscape, renowned for its compelling and diverse community of performers, composers and thinkers. Celebrating its 70th anniversary, the internationally renowned Summer School is at the heart of everything Dartington stands for. The 14...
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Yes. You read right. I bet you never thought you'd see the words "pleasure" and "ear training" mentioned in the same sentence. Pleasure and boats seem so much more compatible. People tend to grimace at the very thought of ear training, as if they'd just discovered half a worm in their apple. When I was a student at McGill, "Ear Training and Sight S...
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Leopold Wolfsohn. You may look at this name and wonder why it seems vaguely familiar. If you access Leopold Wolfsohn on Google, it will notify you in 0.27 seconds that you have 18,700 results. Of course, as the search continues it gets further away from its initial goal. However, there is a common denominator in the vast majority of sites: Leo...
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I've recently been inspired to think about the essential elements of a successful lesson, prompted in part by Pete Jutras's column "Quality Ingredients" ( Clavier Companion , July/August 2015) and a superb 2012 workshop that Marvin Blickenstaff presented at Nazareth College, just outside of Rochester, NY. Jutras's points—that every lesson should ha...
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