Music Lesson

Instructor: How do you feel? I was thinking halfway through, you must be very tired, because, I mean, just doing it, you know, once is enough. It's very good. You play it very, very well. Very, very well. So I think you play it extremely well.

Feedback on Sound and Technique:

• I don't have any sort of major criticism or anything, but I am going to make some suggestions about your whole sound at the piano.
• Now, this isn't a very easy piano to make a big sound.
• I felt your sound was a little tight and constricted, and I was watching how you play.

Suggestions for Improvement:

• One of the things you might do now, you've got a piece and you've got great command of the notes and the technique and everything.
• You might think about the largeness of the sound that you're making.
• I notice your opening was like that, but it is marked forte. You need to have a slightly bigger sound at times.
• What I feel is that you're very accurate; you're playing highly accurately. However, one of the things you sacrificed is volume in order to achieve that accuracy.

Playing Technique:

• I can see that you're physically making the shapes, but try to:
  • Concentrate on the sound.
  • If necessary, drop the speed a bit and focus on the sound I'm talking about.
• When you play this opening, try and feel as though you're swinging.

Encouragement:

• All of this should be quite loose and free in order to get the sound to flow out.
• Shake the sound out rather than having to force it.
• Just keep it relaxed, this here. That's it. That's a good sound.

Working with Dynamics:

• Now, with these, the way Messian's divided them, don't play them individually.
• I need to hear more of the fours and the twos and the threes.
• Drop the staccato slightly and focus on picking it up naturally.

Returning to Original Speed:

• I wonder if we can go back to your original speed while keeping some of that depth of sound.
• Try not to overemphasize every single note.
• It should project a ferocious sound and writing style.

Personal Preference:

• I'd actually prefer something that sounds more vibrant.
• I like that sound because it conveys seriousness in the playing.
• It's more work for you, but if you concentrate on keeping relaxed, it shouldn't feel so hard.

Playing with Phrasing:

• When you have big phrases, think of a huge phrase mark above each thing.
• Try to maintain long lines rather than playing each note individually.

Messian's Masterclass:

• I do remember seeing Messian and his wife give a masterclass on this.
• They emphasized these chords should shine and have a romantic sound.

Using Pedal:

• Don't play so fast that it's merely digital, think of it as written by Rachmaninoff.
• Use pedal underneath to make it sound more luminous.

Practicing Difficult Sections:

• For the difficult middle section, think a little bit jazzier.
• Focus on rhythm; don't worry about speed.

Tips for Practicing:

• Show me how you practice this passage. What would you do?
• Practice slowly and softly.
• You need to make more of the grace notes; they are important.

Rhythm and Phrasing:

• It's essential to allow the detail to come out rather than just hammering through the notes.
• Explore the contrasts in the music to keep it lively and interesting.

Final Thoughts:

• When programming this movement for recitals, think about how it will be received by the audience.
• If it's too dense and complex, consider pairing it with quieter pieces to help the audience digest it.
• Recommendation: Don't play this as an encore; it needs to be presented thoughtfully.

Conclusion:

• Well done, thank you!