I'm so envious of the students at the JMC. What I wouldn't do for a master class with the AMZING and Brilliant Professor Perahia. She is outstanding, at least to my inexperienced ear. I have a long way to go, before I'd be good enough to sit beside and be critiqued by him. I hope they realize what an extraordinary honour it is.
Does anyone realize how nerve wracking playing in front of people then being critiqued live, having to make corrections on the spot, is? She's fantastic. He sees her potential or else he wouldn't be so insistent.
Anyone that can play through pieces of this caliber has potential but making it at a professional level is like being in an nba. Not enough room for everyone with just potential. But honestly playing in front of people and being critiqued is literally the job. In this scenario it’s much more low stakes and you get the privilege of working with someone of this caliber as well.
Listening to Chopin's scherzo is like watching evening news, full of all the troubles in the world and all the great things happening all around. They didn't have TVs back then, so the scherzos can fill those roles.
That was brutal. Good, but brutal. Two very sensitive and capable pianists side by side giving us an instructive peek into the difficult process of becoming a musician. Bravo to all involved!
she didn't understand what he meant "4 and 5"; she was nervous, and who wouldn't be? It took me a long time to learn (on my own) that when you learn fingering, at some point you have to synthesize prescribed fingering with a natural and somewhat intuitive approach, which sometimes means reinforcing a finger (particularly a weaker one like 5) with another, I suppose usually its neighbor. When you're so accustomed to obediently following a teacher (or fingering in your edition), it seems reckless or taboo to actually do just what works. Often the published fingering must be followed exactly because it has an underlying musical point about phrasing or articulation, but other times it is just a suggestion or idea that can and must be overridden by the particularities of the pianist's hand and even energy or inspiration in the moment of performance. Distinguishing these kinds of cases and knowing how and when to act on them is one of the most important aspects of learned musical experience. Reinforcing a finger with another is rarely indicated in a score, but it should be in every pianist's technique.
@@firephilosopher7645 Yes, roughly speaking Shapiro should take Perahia’s glasses and introduce them on his mouth. After she can shake Perahia’s head up and down till he swallow…
Would have thought it a bit distracting to have him leaning forward and making notes - you'd be thinking "oh what did I do there"! And if he wants to make notes - a good idea - why not get into a more comfortable position?
Let us know when you, great master, are ready to perform such a piece in front of Mr. Perahia. I learned a lot watching this and really appreciate all the work she put into learning, performing, and master classing this piece. Alma is a great pianist.@@wot_hog
