On 27 March 2014 at the mdw, the renowned Norwegian star pianist Leif Ove Andsnes held a masterclass at the invitation of the Keyboard Department (performance). We spoke with him about his work with young artists.
What an excellent, supportive teacher this man is. Good for him, when some well-known artists belittle their students. He is a gentleman as well as a wonderful musician.
I'd like to thank the University of Music and Performing Arts for the opportunity to take part in this master class. It was a fantastic opportunity to work with one of the finest pianists of our age.
+sofrech1991 It was a pure joy to see this interaction. You have a fine, solid technique and your preparation was excellent. So often a master class session experience is tense and uncomfortable, but this seemed to be purposeful and enjoyably on point for everyone, including the observers. I wish you success in your continuing study, and many more opportunities like this one. And I hope you teach as well as performing -- you have a lot to give.
What a great artist AND sensitive teacher Leif Ove Andsnes is . . . not all gifted musicians are also gifted teachers. Welll done. Excellent and receptive student too.
I think I had forgotten that music was living and alive in a way not just an execution of novel idea and emotion .this little lesson is sinking in after watching this 3 times . Being a musician and being a creative artist and /or composer requires soinvredibly much . What am I really doing with all this music I'm writing . I have serious questions to answer and find solutions ! Thankyou and now there is more trouble for me : more sarching !
5 лет назад
Barenboim's masterclasses can't match this! So open, light-hearted and respectful.
What is great about this master class is that Leif begins with the positive aspects of the student's playing. And only later gently suggesting another approach to the opening of the sonata as played by Claudio Arrau (which I just heard). I wish I were his student. In contrast, Maria Joao Pires, in her master class on Beethoven's 32 Variations, immediately criticizes the student's playing. She has nothing positive to say. I would be devastated by this kind of approach. Pires is a great pianist, but I would not want to be her student.
A great artist, as a student, isn't looking for compliments from established artists. They are looking for ways out of the boxes they find themselves stuck in. Great teachers show those great students ways out. That dude got a lot from that lesson. It's a rare treasure, at that level of playing, to work with people who have been there and who can meet you there and who take you to the next level.
Fascinating commentary I appreciate it but one thing, is he recommending approaching pp with assistance from the left pedal? I always was informed that to change color texture/apply una corda was when the left pedal was to be utilized but not to assist with playing pp. Shouldn't that be derived directly from one's technique for pp instead?
+Brian Cho My opinion: I think there are no "rules", but rather "tools" that you can use to create different panoramas and color- so even though your technique leads you to play softly, the soft pedal can also alter the color to create a more mysterious and unique sound that adds to the sense of why it's marked pp in the first place. The pp is meant to tell you the composer wants a different color. No, you do not "rely" on the soft pedal for softness, but you do use it to influence the sound and color while you are playing softly.
+Brian Cho no -- I think he was in fact saying that it was the color that needed to be modified -- he was commending the young man's good dynamic range and control without the pedal, but telling him that the color effect available with una corda also needed to be explored. This was the kind of performance you hope to see in a master class -- accurate playing, solid technique so that suggestions can be taken right away, but still a bit tentative interpretively, a little unawakened. This is my hands-down favorite of the Beethoven sonatas, and Andsnes' performance of it is one I am very partial to. I'd love to see the whole class. Andsnes has a lovely mentoring style, charming and ultimately communicating so much without forcing. Just the way he plays. :)
Trombley I reckon yuja could not play this wonderful Beethoven piece as sensitively as this brilliant student.Whilst he's not perfection he's still extremely good.
Thank you so much for putting this up; and thanks especially to Leif for being so supportive a teacher, and those before me who have commented on this. I never got to the point of having masterclasses, but I did have quite a number of different teachers as I was learning the flute, and I cannot tell you how much of a difference it makes to have a teacher who is solicitous and supportive, rather than out to massage their own ego at the expense of the student. A huge bravo to Leif, who I already admired as a pianist and now admire as a person and teacher; and well done to the student for excellent preparation and performance.
