So how do people craft their performance? By mimicking recordings. Once you reach a certain level the metronome is thrown out the window.
#Argerich chopin scherzo 2 professional#
Imo the state of professional level classical performance is in disarray.
'No Stupid Questions' thread (twice/month)ĮPierre's weekly composition/improvisation challenge IMSLP provides access to free, public domain sheet music. is a great website to learn the fundamentals of music theory. commenting on someone's appearance), and the like, are not welcome and will be removed. Off-topic posts, spam, advertising, blog posts with little contentĪlso, please do not submit more than 3-4 posts per week, and you should not have more than 2 posts on the front page.Ĭomments that contain personal attacks, hate speech, trolling, unnecessarily derogatory or inflammatory remarks or inappropriate remarks (e.g.
Requests for transcriptions, identifying chords/notes in a song (use /r/transcribe), what song is this?, requests for sheet music (see FAQ, use /r/musicnotes, /r/transcribe)Ĭommon generic questions covered by the FAQ such as "What's a good keyboard?", "What's my piano worth?", "How do I get started?", unless your question has specific details. (use /r/musicpics, /r/classicalmemes or /r/pianomemes) Image memes, pictures of text, rage comics, etc. The following types of posts are subject to removal: Recording from a Digital Keyboard into a Computer read the FAQ Newest Comments | Participate! Piano Jam | 'No Stupid Questions' If these accounts do not necessarily outstrip her other recordings, they nevertheless offer an intriguing insight into ongoing 'work in progress' from a pianistic giant whose artistry continues to fascinate and perplex.Welcome to /r/piano! Whether you're an absolute beginner or a seasoned professional, we hope you've come to talk about pianos. There's a vulnerability as well as an affecting wistfulness about the playing which captures the elusiveness of the idiom, with its harmonic ambiguities, with rare acuity.Īt the other end of the scale, the excitement she generates in the A flat Polonaise is of an order that goes far beyond mere effect. Some of the most satisfying playing on the disc comes in her account of the Op 59 Mazurkas. This has the virtue of allowing us a less hectic view of subsidiary elements within the music, which elsewhere can too often be overwhelmed by the sheer turbulance of the action. Ironically, however, she seems to rein in the propulsive power for which she's renowned, appearing instead to be seeking at every turn to exploit a deeply felt exprssive lyricism to offset the febrile intensity of the most energetic figurational devices.
Such a formal contraction can contribute to the momentum with which the movement unfolds. In the B minor Sonata she omits the first-movement repeats. Moreover, despite the limits she places on her repertory, such is the spontaneity of her approach that each of her interpretations, no matter how familiar in broad outline, is characterised by a profusion of contrasting details beneath the surface. Yet the vehemence of her playing is seldom to the disadvantage of the extraordinary subtlety of her art. $ Īrgerich's pianism is remarkable for combining seemingly effortless technical resource with temperamental volatility.