Ending
With
Julia ZilberquitJulia Zilberquit walks through the floating final section of Tchaikovsky's April: Snowdrop, shaping the morendo ending with ritenuto, diminuendo and a careful non-legato touch.
What's in the course
27 lessons (1h 58m) · 1 free
Lesson transcript
Music Lesson: Tchaikovsky's Transitions
As I said again, we are very careful, and we're aware of what's going on with an ending.
Measure 75: Floating Ending
From measure 75, it's just a very floating ending. He takes the ending of that section and plays around with this.
Important Note on Measure 75
- There is a rest on each beat.
- We play the left hand on beats 2 and 3, not 1, 2.
Example:
- Exactly like in measure 79.
Focus on Measures 77 and 81
I want to draw your attention to measures 77 and 81.
- Those notes are non-legato.
- They have small accents while remaining double piano.
- Followed by legato.
Tchaikovsky's Techniques
Tchaikovsky loves to write the word morendo at the end, which means "dying."
- So, we're doing our ritenuto and diminuendo.
- It's a very intricate work because we're already in double piano.
Controlling Sound Dynamics
We need to measure our strength of sound, which could be:
- A little P.S. (Postscriptum): Two to three pianos.
What's very important, particularly in those pieces from Tchaikovsky, are those little shades and musical nuances.
I call them like dimmer lights:
- When you go up and you go down, it's very important to know where you're going down to.
For example:
- If it says crescendo, it actually means piano.
- We're going into crescendo.
If it says diminuendo, it most certainly means mezzo-forte or forte, where we're coming down.
So, we have to be able to control the sound, which is not as easy as it seems.
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Meet your guru
Meet your guru
Russian-born American pianist Julia Zilberquit has earned critical acclaim as a recitalist, chamber musician and recording artist. She was praised by The New York Times as "an outstanding soloist" after her Carnegie Hall performance of Cesar Franck's symphonic poem Les Djinns for piano and orchestra with Leon Botstein and the American Symphony Orchestra.
In 2014, Warner Classics released her CD Bach: Complete Solo Keyboard Concertos. This recording features the premiere of two Bach-Vivaldi Concerti Grossi arranged by Ms. Zilberquit for piano and orchestra, and was hailed as a "gorgeous rendition" by the prestigious Gramophone Magazine. Her arrangement of the Shostakovich Concertino for 2 Pianos, Op. 94 for piano and orchestra was premiered at Carnegie Hall; she has performed it worldwide to critical acclaim and recorded it with Vladimir Spivakov and the Moscow Virtuosi. Other recordings include a solo recording, The Mystery of Bagatelles, released by Naxos. The CD was praised as a "superb performance" by The Washington Post, and described as an "adventurous program, sparkling with unusual clarity and pointillistic luminescence" in London's Piano Magazine.
Her recitals have taken place at major concert halls including New York's Weill Recital Hall at Carnegie Hall, the 92nd Street Y, and Alice Tully Hall at Lincoln Center. Engagements at major international music festivals include appearances in Seattle, Colmar (France), Klangbogen (Vienna), Valery Gergiev's "White Nights" (St. Petersburg), Richter's "December Nights" (Moscow), "The Palaces of St. Petersburg," the Bard Music Festival in New York, and the Penderecki Festival (Poland).
A native of Moscow, Julia Zilberquit was born into a family of musicians. She graduated from the Moscow Gnessin School of Music and The Juilliard School (class of Bella Davidovich). She lives in New York City with her husband, son and daughter.
In this course she draws on that artistry to guide you through four movements of Tchaikovsky's "The Seasons" - March, April, June and October - so you can shape their poetry and colour at the keyboard yourself.
