In the early 1800s, with early Romanticism in full swing, the German-speaking keyboard player would have been tutored according to the leading instructional texts of the time. These texts all advocated a bearing with a straight, vertical back, with upper arms sticking close to the sides, perched on an elevated bench. This elegant, if restricted, posture may have been of necessity if the performer (female or male!) was wearing a corset, in fashion during the period. The arms descended gracefully to the keys. One advantage was improved accuracy in lateral jumps—with the elbows by the side, there was less latitude for error to land on wrong notes. And the elevated posture afforded a fluid hand motion and precise control of key velocity, which was controlled solely by the middle finger joint, on the light actions of the fortepiano keyboards of the time. But for the pianist of today, how much of the 19th-century technique can be used advantageously when playing on a modern concert grand?
Last Monday, January 23, in a master class at the Manhattan School of Music for five piano students willing to pit their confidence in their pianistic skill against what must be the withering terror of a public examination by one of the most acclaimed piano artists of her generation, Yuja Wang was unsparing in her critiques, as well as in her praise, her encouragement, and her example.
Natalia Suriano is one of a small group of stellar young Argentine pianists who are protégés of Mirian Conti, the New York piano performer, recording artist and educator. Ms. Conti has organized a program of musical competitions in Argentina designed to identify fledgling pianists with the talent to gain admission to, and thrive at, the most competitive musical institutions in the United States. Ms. Suriano’s solo graduate recital was one of the steps on her way to her Master’s degree at the Manhattan School of Music, and to Ms. Conti’s long-term vision of enriching Argentine piano artistry. Continue reading
Frederic Chiu spoke with PIANYC. Below are major excerpts of the phone conversation, which took place on Labor Day, Monday, September 5, 2016, just a few days prior to his performance at the DiMenna center. The order is changed of some of the topics we discussed.
He has named the performance format Classical Smackdown, where he pits one composer against another, and gathers live input from the audience about their reaction, publishing the results on a web page. What was his motivation for starting the Classical Smackdown series? Continue reading