I think Hoffman does a pretty good job at explaining how to take it to the next level, obviously all those high level students have no need for advice on technique and interpretation but the very few who actually make it have gone much much deeper into sound artistry
It was thought Schumann was a bipolar schizophrenic and this was represented in the two contrasting characters in this concerto. Only by recognising this can the player successfully juxtaposition and embrace the erraticism and vulnerability that is represented and implied in what is written...often switching from one to the other in the same bar. In short, this piece represents two distinct characters, often vying with each other to be heard.
51:12 - had a moment like this but I could NOT hear in that instance what the instructor was hearing in his mind (he had crazy perfect pitch) so we just went back/forth “sharp/flat” for a few minutes.
sometimes i wonder if it has to do with the overtones particular to an instrument, because there are quite a few times where the right pitch is just impossible to find
At first I thought Gary’s advise was BS,but her playing did get more expressive as a result of his comments. Still, I think it’s hard to improve her performance
Actually this reminded me of a good but tough acting coach - or golf / swing / mental coach - giving her what she needed to see things a different way.l and challenging her.
I think often his vagueness is intentional. He’s not so much explaining *his own* intentions, as perceiving the performer’s intentions and giving guidance on how to elevate *their* interpretation/performance. He is sharing his ideas, but he’s leaving enough room for the performer to have their own voice, instead of teaching them to “play it like I do”.
