Boris Giltburg teaches you Ravel's Alborada del gracioso 

What an intriguing piece, presented with charms and energy, and so vitally performed. Bravo!

Very interesting to hear Boris speak about the piece. Great advice to learn the 'start' point and 'finish' point of the glissandos. This advice can be applied to many 'difficult' sections, which is to learn the extremes, the key chords of the passage, and map the important markers without all the flash. Then your hands and body already recognise their position, and you can later fill in the gaps. Also great that we have a superb modern pianist actually taking time to teach people in an open video, which was never undertaken by any of the previous generations. Kudos to him for posting this.

If i ever stop practising on my own (which i have been for a few years now) and get a teacher, i sure hope he's like you. I get easily hung up on technicality and lose motivation when I get stuck for longer periods, but this way gets through the piece while still retaining the crucial information on how it "should" sound as you move through. Truly inspiring. Thank you! Now, I realise there is only one Boris Giltburg in this world but one can dream haha - I just love how he expresses the music with words.

Excellent presentation and demonstration. Well done! Thank you!

I love his attitude and enthusiasm! What an amazing song!

This presentation was AMAZING! Wow

Thank you!! Your sharing is so precious. Some of the techniques and experience I have never even heard about them. French composer has the hardest work!

I started to love this piece because of him Thank you!!

What an amazing and generous pianist!!!

A real pleasure to watch, even though I'll never be able to play this I really like such deconstructions! Thank you!

I played this on one of my undergraduate recitals. All of this advice is 100% spot on.

Great video! Technically, the first and third parts of the piece are extraordinarily difficult, but the middle part is very strange musically, I wish you could tell us more about it!!!

Great piano teacher& pianist of our time:)

Great video and content ! It's great to hear this quality on YT :)

What a brilliant performance by a brilliant performer 👏👏👏

i was patiently waiting for a good tutorial, wow, got one from the master, I love his Carnaval and Rach.

Dearest!!! You are amazing!!!! Thank's very much indeed !! Abrazos desde Brazil⚘

You are one great teacher; a pleasure to watch and listen too! It is not always easy to articulate technique and intent as well as you do...kudos and bravo to you.

Love your lesson. U cover everything.

Fantastic pianist!!!!

Having performed this many times on many different pianos throughout the years, I can tell you that the success of the glissandi and the repeated notes all depend on the easiness or sluggishness of the action ( and also a bit on having a good technician present ). Especially if you're wanting to play the repeated notes softly and quickly at the same time, as many of them are marked to be played in this score. An additional problem with the glissandi is the smoothness, or lack thereof, of the surface of the keys. I had the misfortune once to play on a beautifully restored 1893 model A Steinway that has the original ivory keys. The ivory was very hard to slide/glide over. In fact, when just playing with only the fingertips in any other passage, you can feel the slightly rough, dry ivory sticking to your fingers, and can even hear a squeaking sound as you pull your finger from the key. The front and side edges of the white keys were also quite thin, and therefore somewhat sharp. A single note glissando was doable, but only if the hand was held just so, and if the pianist has an ample fingernail. Dipping even slightly too low caused cuts in the cuticles from those edges. So you can imagine what a double note glissando was like. And yes, as has been mentioned below, measure 210 should be A# on the grace note just before the second note of the final quarter note duple of that bar, and additionally, in measure 212, the final descending diminished arpeggio begins on the F# grace note, not the A above it as is played in this video. But still, many good ideas presented here!

I’m decades away from being able to even approach this piece, but still fun to learn and listen to this charming man

Great ! 🙌

Wonderful!

Great! Thanks for breaking it down!

this piece kicked my butt in my 20s!!

Bravo!!!

Great video I was just listening to Boris Giltburg playing Rachmaninoff.

I only discovered him a year or two ago. I think he's sensational.

Excellent!

Fantastic!!

YOU AFE A FABULOUS MUSICIAN. and a pianist

Played this in my early 20s and now it is seems impossible as does most- at 65 yrs everything is a complete challenge which escapes my ability and patience

Thank you.

Pretty interesting! Bravo 👏🏿

Every word worth attending to.

Well done.

❤❤❤❤ thanks a lot

Harpist here - this is fascinating!!

Ling Lings would not appreciate you saying not to practice it :) Thanks for the video!

This is exactly how I used to practice and play it many years ago at high school . It works but a good light action is needed on the instrument

As an amateur, no idea why I wasn’t subscribed to this channel before

Thank you so much for this video! Do you have any advice on how to adjust to pianos with slower or inconsistent key repetition?

Thanks Boris! So helpful! Now have you done one for "Une Barque sur l'Ocean"?

Very detailed and instructive video, is it possible to fix all the typos in the presented score?

OMG that's a difficult piece !!!

Whenever I practice these sorts of glissandi, I have a special pair of cotton gloves. It greatly reduces friction, and enables a pianist who may be totally unfamiliar with double glissandi, to practice them, without stressing out the action of the piano, or tearing the skin off your fingers. Thin cotton gloves;)

If Boris tells you not to practice it with slow tempo, cold hands etc, he really knows what he took himeself into before coming to that conclusion. He looks like a practice experimentalist

I can't play this piece, but I love to practice double note glissandi for fun. I didn't know you weren't supposed to lol.

I usually play those glissandos with my hand inverted like I was spiderman. Works for me!

Dear Boris Giltburg, The A natural appoggiatura in m. 210 should be an A sharp (:

You're not only an incredible pianist but an excellent teacher. Do you teach privately online?

I would like to play for you .. I m playing it, where do you teach? Is this piano best play repetitions? And why, having harder time playing on Steinway

12:20 this is insane advice

Just sightread this last night. Great piece! I've played Gaspard de la nuit probably a 1000 times & on my very 1st concert program so I intend to claim this as well. I'm poised to pounce. Been playing Petroushka & Islamey non-stop for over 2 years w Gaspard...... it seems to make everything else easier by comparison. I just finished the 12 Liszt Transcendental Etudes coz I played the 27 Chopin Etudes everyday for 3 years! ( it occurs me, I may be extreme!!)

how to play double glissandi: step 1 - have a fazioli

This piece is obviously geared towards very advanced students, but does tonebase have enough material for someone like myself who is in the ABRSM grade 5ish realm? If there are just a few classes and it isn't a focus of the platform, it probably doesn't make sense for me. Any thoughts from Tonebase users? One other thing is that I took lessons between 11-16 and worked on my own from time to time since then (I'm 38, right now). I'd be curious to learn what is the best way to structure one's practice.

Gilburg variations

It can be played 2-4, but with remark that 4 will be at lower note and 2 at higher. Look how Richter deal with this place and what fingers he use

How about the octave glissando in the coda section of the finale of Beethoven's Waldstein Sonata?

🌹🙏🌹

ı think the reason he wrote the glissandi with 2-4- fingering is because you are suppose to play with your hand inverted. your palm looking up, back of the hand looking down at the piano

Well, practicing glissendi also thickens the skin !

the notes in bar 179 do NOT equal a true glissando as several of the chords are left out of the scale for example bd, eg, ac... bar 180 IS in fact a true glissando

A#

Great video, but health & safety warnings should be added to the score of this piece!

And I was hoping to be let into a special secret about how to play that gliss.😭

Has anyone ever played it better than Dinu Lipatti?

Meh. How hard could it be?....

Free Palestine 🇵🇸 ✨️ 💙

Take a lead out of Zhdanov’s lessons, he’s able to slow down a little and show his hand playing from above whilst illustrating at a level all levels of interest can understand. This video is stereotypical and grandiose virtuoso pianist that can no longer relate to anyone unless high intermediate to advance. I learnt a little but nowhere as much had this been taught by someone that can teach for all lessons. Is why certain pianist attract all levels whilst others attract just elitist or well advanced even high intermediates. You must always show the hand playing from above because side view angles does nothing! A greatly missed opportunity.

Doesn't actually sound very good. The hiccup between the upward and the downward gliss is bad and obvious

"Don't practice it" probably the dumbest tip you can give lol