[轉錄]Instrument, musician, and music

[hschen (H-Y)]

※ [本文轉錄自 hschen 信箱]

作者: [e-mail] (Hsuan-Yi Chen)
標題: Instrument, musician, and music
時間: Tue Mar 23 01:39:14 1999

Instrument, musician, music

  
  It is stupid to try to describe a music performance in words, 
mis-communication happens, although we all do that from time to 
time.

  Let me do that here, but not concentrate on how the musicians
treat certain phrases.  If I can grasp a little about how they
"tackle" a finished work of the composer, you may like what I
write in the following.  Otherwise this whole thing is nothing
but junk and I have to admit that I failed to communicate with
you with words.

Hsuan-Yi Chen



------------------------------------------------------------------
Instrument
  Sometime in 1997, Bert Hara was still the principal clarinetist
of Philadelphia Orchestra, he came to Pittsburgh and gave a 
master class to the students of Mark Nuccio, to return Mark's 
favor as playing in Bert's previous position, the principal 
clarinet of Minnesota Orchestra, for a month.

  A very talented student played Mozart clarinet concerto with the
typical dark, stable tone, and great precision of technique.
Bert said "I heard a very good clarinet player, but where is
Mozart?"



--------------------------------------------------------------------
Instrument(II)
  I played a phrase with subito piano following forte.

  "if you wait after the echo of the forte passage decays, then
play the subito piano, the effect will be better" said my teacher.

  So I wait for an extra 1/50 second.....  did I delay the rhythm?

  I like the wait.



--------------------------------------------------------------------
Musician
  Vladimir Feltzman is one of those who are not as famous as
some other pianist (to name some, Barenboim, Zimmermann, ....)
but shocked me in the concerts as a mucisian with fire.  He
made Beethoven piano concerto no.4 a fireball three years ago
in Pittsburgh.  Several weeks ago he cooperated with 
Thomas Sanderling (son of another Sanderling, i.e., the late
music director of St. Petersburg Phil.) on Rachmaninoff 
piano concerto no.3, a "warhorse" of piano concerties.  I knew
he would play that one like a thouderstorm, so I went.
The performance was intense.  I felt a little bit over-stretched
but things were exiting.  He shaked his hands whenever there is
a rest, to make sure that his fingers were relaxed and
more power could be feed to the audience
and shake the music hall.  

  I asked my piano accompanist, who is a musician from the former-Soviet
Union, if he went to one of those concerts of Feltzman.

  "No." he answered.  He considers Feltzman as a man who shows himself
over the content of music.  He dislikes Feltzman's performance.


----------------------------------------------------------------------
Music

  Andras Schiff came to Pittsburgh with the music director of 
Pittsburgh symphony orchestra, Mariss Jansons, to give a performance
on Beethoven piano concerto no.4 last week.

  There was nothing like "fireball" or "thunder".

  "His technique is not that impressive, his staccato is not as clear
in pianissimo regime." said my ex-roommate.

  "His performance is not very exciting" said An-Cheng Huang, a former
clarinet player of NTU windband, if you know who he is.

  There were less attendance than Feltzman's concert because people heard
Feltzman 3 years ago and was impressed, Schiff has not been to Pittsburgh
for 9 years.


  Right after the last chord of the 1st mov, Schiff raised his hands 
high up as the chord projected away from the piano.  Then slowly,
his hands relaxed as the chords and the "mood" of 1st mov. fading
away.  There were some clapps and cough from the audience because
people used to move and talk "quietly" between movements.  His hands
were still there.  Right after they moved back to the keyboard, the
first phrase of 2nd mov. began (from the orchestra).  
Throughout the performance, there was no "rest"
for the pianist when there is a rest.  He did not try to relax 
his fingers in order to give some excitement later.  Instead,
he was always "in" the music when the orchestra was playing.

   
  I did not clap right after the performance.  I could not do that.




----------------------------------------------------------------------
Echo

  I will abuse the words of the great pianist Schnabel
(i.e. make up some that similar to his), and finish.


  ..... the rest, that's where music lives.
  












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