The piano as an orchestra
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I decided to dilute the articles about the Great Pianists of the 20th century with a very necessary topic.
First of all, of course, for pianists who set very high goals for themselves in piano performance.
If you ever decide to sign up for a master class with any famous professor, at least once during the lesson he will remind you about the sound of the orchestra, so that you do not play. I would even say that only a lazy person hasn't mentioned it yet. Why is that?
It's quite simple. The piano sound, in itself, is not so lovely, especially if you don't know how to extract it. Let me just remind you of the simple fact that the piano is mechanically a percussion instrument.
Well, like a drum, to make it clearer. That's why any pianist who understands the nature of his instrument tries his best to get rid of this percussion. To achieve a singsongy, vocalized sound.
Plus, it is impossible to amplify the sound on the piano after taking it, it gradually subsides, and it is necessary that it stretches and stretches, passes into other sounds, continuing and continuing the phrase. What to do?
I have talked about the two most important disadvantages of the piano, I propose to talk about its inherent advantages! The most important plus is definitely the range of our beautiful instrument.
The ability to recreate an orchestra through this wide range. In other words, the versatility, the timbre of the sound. And these possibilities must be utilized. Otherwise, you may get bored with “playing” the piano very quickly.
Let me make this formula: the brighter and broader the pianist's auditory perceptions, the more voluminous his stock of musical images accumulated over the years of development, the more interesting it will be to listen to him!
As you yourself know, most of the brilliant composers who have left us a musical legacy came from musical families. And those of them who are nuggets in this sense grew up in a musical atmosphere anyway.
In other words, they both regularly attended operas, symphonies, ballets, concerts of all kinds.... They heard various folk chants in the streets.
And all this never disappeared! All this accumulated into a huge storehouse, from which brilliant composers then drew and re-formed musical melodies all their lives...!
And if in this or that place in a piece of music, in a particular melody, Mozart heard a vocal, violin or other orchestral instrument, why can't we, interpreters, hear it?!
But what do you do if you can't hear the violin? And how, in general, do you know where the violin is and where the double bass is?!)
I think there are few options. In our wonderful time there are as many operas, symphonies and concerts as in the times of Mozart, Brahms or Tchaikovsky. Especially if you live in a big city.
But even if you live in the remotest hinterland, there is now the Internet. And there are thousands of excellent recordings!
Of course, I'm in favor of attending live concerts, but watching music on the computer is not the worst option. Such a treasure trove could not have been dreamed of by any of the aforementioned geniuses.
And further, orchestral hearing will come by itself. And if, in a certain place, you clearly hear an English horn (my favorite orchestral instrument :)) and immediately try to reproduce it, then know - you have achieved something!
And if you hear the sound of the English horn, everyone will hear it, you can be sure of that.
For an experiment, I suggest you go to the opera house. Or the Philharmonic.
And then, try to play at home already learned piece.
I guarantee you that the instrument will immediately sound more singsongy and orchestral. This will be the first step towards perfection.
Volodymyr Slakva, online piano teacher
You can also reach me on WhatsApp
Phone number: (+46) 0737820497
Email: slakva1983@gmail.com