10:00-15:00 is a complete nonsense. physical laws of piano as an instrument makes this a non-starter and a nonsense. He is probably talking about some inner phychological game that brings out the imaginary sound of his but... this is a nonsense, we need to say this in XXI century. Piano is a percussive instrument unlike the violin say.
Wow, Vedrana you have such a fabulous, beautiful way of handling the complex harmonies, the fullness of the inner counterpoints, the ornamentation, and still bring out the melody, with lovely tone and expression. So soulful, melancholic, sweet resignation.
I've enjoyed this whole series of master classes on several of these works. Especially this one, since I'm working on it. Berman is dead-on with his assessment. The student did get all the notes, but the style has yet to mature. I'm unfortunately having the opposite problem. I've learned much from this. I wonder if Prof. Berman is available to come to the Midwest. I for one would greatly appreciate it!
Berman was very generous - overpedalling, slurring phrases together (especially in the exposition), weird and anticlimactic dynamics, inconsistent tempi, etc. etc. Not sure this one is down to nerves - I think he needs to revisit the score.
I like how Boris showed that power is not simply loudness but understanding how the body follows the gestural elements of the piece. It really made a difference in this pianist's sound and how the audience understands the music.
Not much contrast. It all sounds the same--even though it ought to contain extreme shifts of character and loudness. Incidentally, Prokofiev's won style of playing was nothing like this at all. Part of the difficulty has to do with he fact that she never gets her hands or fingers at all far from the keyboard. It is as if she felt she would lose track of where she was if she did not stick close to the keys and crawl around, So it is impossible to belt the notes. Berman is of course in complete contrast to this. When he wants to belt something, it gets belted/
What does "no 7 Allegro 2" mean??? - Ok, it means No. 7, op. 30 No. 2, Allegro con brio. Please correct it. And for your next recording of this piece I recommend more synchronicity between violin and piano (and not only)
I can’t really find anything about you. Do you have a website? I am just curious why you have taken this singular interest in scouring my youtube channel for any errors you can find?
this piece is very hard to play, it´s extra hard to play it convincingly, with lightness. You have to exaggerate everything you play, (every forte, every piano, every character) to gain the effect you need. You need to engage all your body, imagination, and physical strength... also physical appearance does a great job - one mustn´t look relaxed while playing the opening of this piece.
this piece is even more difficult than most of the other sonatas. That is why there is only one movement but actually with a lot of very difficult techniques combined.
This is one of the best master classes I've ever seen. It was focused, cohesive and clearly presented. I was especially impressed, starting at 19:15 that he cautioned the student about the dangers of the percussive technique he was recommending, and rather than just saying "So be careful," he showed him how to monitor the muscle tension in the forearms. I didn't expect to stay for the full 31:21 minutes, but I couldn't tear myself away.
Oy. That must have been painful for Berman. He was very diplomatic, although there was small crack in the dike when the kid didn't even know the Brahms PC1...you could practically see Berman's eye's roll to the back of his head, lol
What a difference between the master and the student. From the moment the video starts you can tell the student "has the notes" but "not the music". Then Berman sits down and plays the exact same "notes" but the "music" of Prokofiev comes out ... experience.
So incredible to have this for free on RU-vid! Boris Berman is a famous interpret of Prokofiev's music, and this is high-level teaching that I could only have dreamed of back in college.
Le Professeur et très bon mais le pianiste semble ne pas voir que le piano est d abord et fondamentalement un instrument à percussion… qu il nous faut lineariser par la technique de jeu et suivant la partition…
@@konstantinkhachaturyan4279 Я так не думаю, на самом деле есть три типа инструментов: ударные (барабаны, фортепиано, клавесин…), линейные (скрипка, труба…) и смешанные (классический или электронный орган… линейной дихотомией) или для пения. инструмент всегда актуален, даже жизненно актуален для человечества, вот что самое трудное на фортепиано: заставить его петь снова и снова...
When I got to the section teaching finger staccato, a lewd joke came to mind, but creating a new account (after this one would surely get banned) is a pain, so I 'll just keep it to myself. All kidding aside, this is a beautiful piece of music, and the Precipitato is one of my favorite passages and always moves me. I tried to learn how to play it once but I gave up after a month, as I knew I would never be able to play it at a high level. Then I tried to turn it into a block chord heavy McCoy Tynerish original interpretation with my band at the time, but that ended up terrible too, so I guess I'll just leave that one to the top players in the world and I'll just keep enjoying listening to it.
0:19 very beautiful, how you show the change from flats to sharps. Not many pianists do thisWhy do you brake down your video instead of fade out?? It would better fit to the mood in this moment
Unfortunately you publish only small parts of your performance. I don't understand, why. You have the intention to play very beautiful, you are the pianist, it's your channel, which are the obstacles to publish the whole performance? It would be very interesting, how you manage the middle section of the 2nd movement, how you make the piano sing and how you build the fugue in the 3rd movement
