Top Ten Favorite Classical Records.

Everyone has their list of favorite albums.  May not be organized in a top ten, but I can ask anyone to tell me five recordings that changed them, and they can answer, pretty quickly in most cases.    These albums, are firmly planted in our minds, we remember where we were when we first heard the sounds burst free from our speakers.    They grip our consciousness, and for that small time while we listen we are enraptured, transported, and ultimately transformed by the experience.   Our world is shaken, and things will never be the same.

Later on I will do my Top Ten, non classical recordings list, but for now, let's just keep it to Classical.   

10).  Romantic Piano Concertos Volume 50:  Tchaikovsky

I will be upfront, I was never a big fan of Tchaikovsky's First Piano Concerto.   It was overplayed, and most of the time played badly or uninspired.  That was until I heard Stephen Hough.   I was lucky enough to see him in concert play the first with the Indianapolis Symphony.   I was blown away, by the power, passion, and his graceful, clean sound.   I went out to get the recording almost immediately.   I was in luck, it sounded just like the concert.   I always worry, that a record will be over engineered.   And a further bonus,  He plays the lesser played, but just as brilliant 2nd and 3rd concertos as well as the unknown concert fantasy.  Just and overall delight of Russian romantic piano music.

9). Karol Szymanowski: Piano Sonata No. 3; Métopes; Masques

For a long time, I thought I could not enjoy more modern classical music.  To me, it sounded weird, ugly, and missed the epic grandeur that I loved in the Romantic works.   Piotr Anderszewski's account of polish composer Karol Szymanowski changed my mind.  I found myself curious about the pieces, probing into their structures, and just listening for what happened next.  Whether it was the pianist, or just the right time I feel that Anderszwski had a sound that was both intellectual, curious, and daring.

8.) Leonard Bernstein: Beethoven The Complete Symphonies

I have since listening to this recording, heard the Beethoven Symphonies many times.  Sometimes I enjoy the recordings more, but this was the first time I heard all of Beethoven Symphonies, and really took time to listen to more then the 5th.   Bernstein's energy and enthusiasm for the music is infectious.   The recording, is loud and energetic.  It always got my blood pumping.   It is hard to not still sing BUM BUM BUM BUUUUMMMM, and conduct to my imaginary orchestra, when his fifth symphony begins to play.

7.) Christopher O'Riley: True Love Rates

I debated whether to put this on my list of classical recordings.  Considering it is transcriptions of the music of Radiohead, but transcriptions have been part of classical since day one.  With the Liszt Schubert song transcriptions coming to mind.  I feel this recording is not any different.  Presenting music that is popular today. Also, I am including some of these transcriptions in my own recitals later on this year.  O'Riley definitely has an impressive resume, and brings many of these Radiohead songs to life for classical audiences.  What is more amazing, is while virtuosic, all of the songs line up perfectly with their original counterparts.   Paying tribute to what made those songs special, only taking liberties with the scope of the harmonies being used.

6). Murray Perahia: Mozart The Complete Piano Concertos

Murray Perahia is one of my all time favorite pianists.   He has a sense of control that can rarely be matched.   That is exactly what is on full display in his recordings of the Mozart concertos.   These recordings capture everything, the graceful nimbleness needed for Mozart, a pure sounding tone, and balanced orchestra.   I was unable to just choose one CD, so luckily for me they finally released a box set with all the concertos included.   

5). Jon Nakamtasu: Rachmaninov Piano Concerto No. 3/Rhapsody on a Theme of Paganini

I love Jon Nakamatsu's playing.  he was the first pianist I got to see playing in concert, and was the first time I heard a piano play with an orchestra.  The experience has stuck with me, and I remember it fondly. His recording of Rachmaninov's tough 3rd piano concerto is great.  It may not have some of the power as other recordings, but the passion is there.  Bringing to life the sensuality in the piece, and bringing us through a breathtaking experience. 

4). Emanual Ax: The Brahms Concertos

Both concertos by Johannes Brahms are gargantuan, some of the longest in the standard repertoire.  Presenting many challenges for the piano as well as orchestra.   In these concertos, the piano is more part of the orchestra, instead of the usual confrontation between the two.   No one get's that better then Emanual Ax.   His piano sometimes sneaks out of the orchestra, and always feels one with the sound being created.   There are many great delicate moments as well as the big show stopping ones. I always find it hard to not let a tear come to my eye when listening to these pieces.  They tell a story, that is very close to my heart, and never fails to move me.

3). The Pianist Soundtrack

I remember a few moments from the film "The Pianist" staring Adrien Brody.  All of them feature the piano, and though there was few piano scenes in the movie.  It was evident, despite some small issues, that the director had respect the that the instrument played in his character's life.  Whether the scene where the protagonist must play for the German officer while he is starving and frozen, or the glorious credits, that feature Chopin in full glory.   They are all captured here, on CD, letting me enjoy those moments without having to watch the movie.  On here is some truely great recordings of known Chopin pieces, some like the Grande Polonaise or The famous G minor Ballad, but also smaller intimate works , a few nocturnes, mazurkas.   

2). Horowitz: Live and Unedited

Legendary Vladimir Horowitz's 65 return concert.   While, his playing may have not been at his best technically.  He was dealing with nerves, and coming out of a 12 year retirement.  His passion and power are electrifying. From the very first few opening bars of his Bach, to the last powerful chords of Chopin's G minor prelude, this recording is just exciting.  Horowitz was always great and being and excellent showman, and his interpretations are always worth listening to.   This is a great recording to hear why he was considered one of the best.

Transcriptions, soundtracks, and lot's of piano, these recordings shaped how I listen and enjoy classical music.  Each one is special to me.   So what could be No. 1 in my mind?   I thought about this, and the answer was simple.  Drum roll please.....

1). Murray Perahia: Beethoven's Piano Concerto No. 5 "Emperor"

I spoke before that Murray Perehia is one of my all time favorite pianists to listen to.   I also should admit, that I have an obsession with Beethoven's "Emperor" Piano concerto.   It represents everything I love from music.   A brilliant structure, that only Beethoven could come up with, a grandiose sound, exciting moments, and intimate sensuality.  Beethoven paints a picture of humanity as a whole.  Capturing everything we feel. Perahia is the Perfect choice for this piece.  Once again, his control is on full display, but the music is still exciting.   Tempos feel perfect, and the slow movement touching.   It is not and exclamation of sadness, but rather a celebration of the journey that is our lives.

I would love to hear what other people have as their top ten, so please leave a comment below!   Subscribe or Follow on facebook at www.facebook.com/jdhpiano 

Practice, Practice, Practice.... Part 1

Practice, Practice, Practice...A phrase I remember clearly from my first teacher.   Of course every teacher advocates practice, it is not possible for us to improve as musicians without putting in our time.  Of course, this varies greatly from person to person, but the core remains the same, we get better as we play more.

I am jealous of many of my peers, who are very natural piano players, with large hands or longer arms.   Or, in some cases, just learn much quicker, but these things do not mean, that I am any less of a musician.   I also feel, that, the way I practice, will not work for everyone, and people should find their own path.

Practice is the day job of the musician, it is not always fun, and sometimes be very frustrating.   Sometimes, it can be a lot like data entry, as we input the information into our heads.   For myself, I found that discipline, and stability have lead to my greatest improvements.

Before I get into the meat of working on pieces, I like to start with stretching, away from the piano.

You can find information on the internet about stretching, but I find it important to stretch:

• Shoulders
• Back
• Arms
• Fingers

It helps me feel loose and less tension, and since I plan to play much longer while practicing then I would for a performance, I have done well to avoid a lot of injuries this way.

So now, on the piano, I start right into Rachmaninov....Totally kidding, I prefer to start with scales, with the metronome.   I only work play 3-4 scales a day.  Put find it important to play them slow(around 69 on the metronome) and fast (108 on the metronome).    For the obvious reasons of getting my fingers ready, the slow practice, is to help control my sound.  To not let my body be ran by the adrenaline, but to finer control my pace.  Put the music back in the realm of the mind, and not the excitement of the body.  Music is control of one's emotion in expression.

One thing many pianists lack, is sight reading abilities, myself included.   I feel it is important to improve this skill, so I will learn something new everyday.  Play from a score I have not seen before.  With the internet, and websites such as imslp.org it is easy enough to find new music.   Or just find a hymnal and start playing from the beginning. 

Continuing in my next post, I will discuss how I work on a new piece.    I hope to hear your stories of practicing, and what people have found to work, and not work!  Please subscribe or Like me on facebook at:  http://www.facebook.com/jdhpiano

Practice time!! Where is my Martini!

More Chopin

I had considered writing about this when I was enjoying the fine Chopin vodka in my previous post, but I thought drinking Chopin, While listening to Chopin, while reading about Chopin, and then writing about Chopin would be just a little redundant.    So, I waited like a patient man, did a little more reading, and was shocked by what I learned.  

Interesting to note, that Chopin, was not always considered the genius that we consider him today.  This should not have been a surprise, many composers are not recognized during their time, but I was under the impression that Chopin was different.   That everyone knew he was special.  Schumann exclaimed, "Hats off,  gentleman, a genius!" Berloiz and Liszt also recognized him, but it was a comment by Liszt that caught, stating that posterity would rank him very much higher then his contemporaries did.

Who were Chopin's contemporaries, certainly more then Liszt, Schumann, and Berloiz.   Sometimes we forget there were many more composers then the ones who actually survive history's brutal onslaught.   John Field, who has not totally been forgotten, had this to say about Chopin's music, that it was "music for the sick -room."    Kalkbrenner said, "There are spots on the new star."   It is difficult to know what he was refering to, but it seems his intentions on Chopin's music was clear.   History has been brutal to Field and Kalkbrenner, it sometimes seems as if they never existed; Kalkbrenner's music is never played, and Field is remembered mostly for just  a few of his Nocturnes.   Most of the time, when I mention John Field, most people seem to think I am referring to a tractor.

I do say my dear chap, I do believe she finds my nocturne quite sexy.

Though for whatever reasons, the music of Chopin endured, some pieces large, but also the small pieces.  The short Marzurkas, waltzes, whom to many at the time, were maybe considered after thoughts, but have went on to outlive many larger works of the time period.

Only scratching the surface here, I shall have to return to Chopin's music soon, for a deeper look at some of his pieces.

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Bach, Chopin, and Mass Effect!

The weekend is winding down and I sit back looking into my adventures of the past few days.  Well...it has been a rather quiet weekend.  One more of a quiet drink, reflection, and shooting as many aliens as possible.

There is something still fun about some video games.  Not having the patience for many of the shooters, most of the time I play the games like Mass Effect, character driven dramas more akin to the movies I watched growing up.   A space opera, with many colorful characters and heartfelt moments.   I enjoy the stories, the melodrama, and the interactivity these games provide.  In many cases it is like getting to play through star wars.

I also treated myself to a bottle of Chopin Vodka, I will include a picture of the awesome bottle.  Which includes a picture of the composer.  I was sadden to realize that you do not get Chopin's genius when drinking his vodka.  I think the company needs to find a way to put that in the olives.

Adding a little Legato to my evening.

Some how, this reminded me of music of Johann Sebastian Bach, and how it is perceived by many; Viewing it as formulaic,  archaic, and in a some cases dull.   This view is prevalent in even how we decide to interpret Bach.  Many times blame rests on the instrument that the music was written for, the clavichord.

The clavichord has a fantastic tone, it can be delicate and charming, but at the same time tremulous.  The instrument is unique in that the action that produces the sound, also ends it, by the metal(this part is called the tangent, for those who are just dying to know) holding onto the string as long as the key is held.    As long as that key is held, the sound is allowed to vibrate, but as soon as it is let go, the sound is dampened.   This is different from the harpsichord, where the strings or plucked.

The clavichords, which may have predated the harpsichord, my recollection of history deciding to return to me with a hangover from too many appletini's on the beach.   Though, what I do remember is that it remained a relatively popular instrument among the composers.   Mozart, composed his famous opera, the magic flute, using a clavichord, and Beethoven was reported to have said that out of all the keyboard instruments, he could get the widest variety of expression from the clavichord.

For Bach, this emphasis on variety of touch is paramount, and essentially to have a flexible and subtle range of tone production.    This would be difficult for any composer to put on paper, and so it is up to us, as performers to make these choices.   The general idea, when playing the piano is use of relaxation and using the weight of the arm, but for Bach, it is essential to let the fingers do the work.  It is obvious these pieces, especially those written in The Well Tempered Clavier, are intended for finger work.   That is to not say one is more important to the other, but rather just another "tool in the tool box" that as a pianist we can apply for musical purposes.

The mistake is viewing Bach's music as dry, formal, and uninteresting; his music is the opposite, full of beauty, lyricism,  and poetry.   He is extremely melodious, despite, his tough architecture and intricate polyphony.   It is an utter joy to follow his various voices and see where they wander, and finding when to emphasize and when to subdue, when to allow the music to flow, or punctuate the notes.

His musical ideas can be found all throughout the Well Tempered Clavier:

The prelude in D major, from book I gives us a light-hearted, spring mood.  Almost as if people are enjoying a nice spring day, kids playing tag, running in a field, pervades the entire piece.

The prelude in E minor gives us something else entirely.   A prelude full of passion, painful longing, and impetuousness.   

The prelude in G sharp minor from book I is full of nuances.   The piece feels serious, but with small glimpses of light that peek through the cracks.

There are many more examples, just from the Well Tempered Clavier, but they point to one idea.   Bach cannot be heartless, unsympathetic playing of the notes, but mental comprehesntion of the art and mood being expressed.   The pianist must work his fingers around the subtle nuances and changing moods that Bach Demands of us, to successfully adapt it to the piano of today.