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Hungarian Piano Tradition
Registrace 8. 08. 2014
The Hungarian piano school, whose origins can be traced back to Franz Liszt, produced many of the greatest pianists of the last century. The tradition in fact goes back to Beethoven, since Liszt was taught by Carl Czerny, who was pupil of Beethoven. At the core of the tradition is the rich singing tone, which also traces back to Chopin and the Italian bel canto. No less important trait is the weight based piano technique, i.e. the sensibilisation and stabilisation of the finger joints, which enables the use of the free falling weight of the arm.
The aim of the masterclass is to preserve and maintain the tradition of the Hungarian piano school. It introduces a natural approach to piano playing, which serves the realisation of musical imagination.
New as well as traditional exercises and examples of the main elements of piano technique, scales, arpeggios, double notes, chords, jumps, thrills, pedal, etc. are represented with proposals for the solution of technical problems.
The aim of the masterclass is to preserve and maintain the tradition of the Hungarian piano school. It introduces a natural approach to piano playing, which serves the realisation of musical imagination.
New as well as traditional exercises and examples of the main elements of piano technique, scales, arpeggios, double notes, chords, jumps, thrills, pedal, etc. are represented with proposals for the solution of technical problems.
Masterclass with Prof. Laszlo Gyimesi, September 4-9, 2023
Masterclass for Piano & Chamber Music with Prof. Laszlo Gyimesi
September 4-9, 2023 in Brescia, Italy
Application deadline: July 30th, 2023
ONLINE REGISTRATION: www.talentsummercourses.it/rules-and-application-form
Each student or ensemble will receive 4 lessons
Soloist: 570 EUR active / 275 EUR passive
Duo: 750 EUR
Trio: 950 EUR
Practice facilities will be provided for all participants (2 hours daily minimum guaranteed)
Accommodation/Boarding
Hotels placed few minutes by walking from the festival building.
Single room: 55 EUR per person
Double room: 35 EUR per person
A couple of restaurants in the neighbourhood offer lunch/dinner for participants for 8-15 EUR.
Performance opportunities
As a central part of festival, Talent Summer Courses & Festival will support young musicians to perform as soloists with orchestra. Auditions for the concerts will be held at the beginning of the week and the orchestra concerts at the end of the week.
September 4-9, 2023 in Brescia, Italy
Application deadline: July 30th, 2023
ONLINE REGISTRATION: www.talentsummercourses.it/rules-and-application-form
Each student or ensemble will receive 4 lessons
Soloist: 570 EUR active / 275 EUR passive
Duo: 750 EUR
Trio: 950 EUR
Practice facilities will be provided for all participants (2 hours daily minimum guaranteed)
Accommodation/Boarding
Hotels placed few minutes by walking from the festival building.
Single room: 55 EUR per person
Double room: 35 EUR per person
A couple of restaurants in the neighbourhood offer lunch/dinner for participants for 8-15 EUR.
Performance opportunities
As a central part of festival, Talent Summer Courses & Festival will support young musicians to perform as soloists with orchestra. Auditions for the concerts will be held at the beginning of the week and the orchestra concerts at the end of the week.
zhlédnutí: 434
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A few Practise Tips for the double Notes in Chopin's F Major Ballade
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Piano Masterclass | Godowsky's Octave Exercises
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Masterclass on the most essential elements of piano technique: scales, arpeggios, double notes, chords and trills. Emphasising on fullest flexibility, relaxed weightiness and adequate control of the arm weight and if necessary, the weight of the whole body. Octave exercises by Leopold Godowsky demonstrated by pianist Laszlo Gyimesi. László Gyimesi was born in Szentes, Hungary. He studied with P...
Piano Masterclass | A short Introduction to playing Arpeggios
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Piano Masterclass | Playing Scales: Chopin's five finger exercise
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Piano Masterclass | Playing Scales: The important Role of the Thumb
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Piano Masterclass | Weight transfer
zhlédnutí 159KPřed 10 lety
Masterclass with pianist Laszlo Gyimesi on the most essential elements of piano technique: scales, arpeggios, double notes, chords and trills. Emphasizing on fullest flexibility, relaxed weightiness and adequate control of the arm weight and if necessary, the weight of the whole body. László Gyimesi was born in Szentes, Hungary. He studied with Peter Solymos and Albert Simon at the Franz Liszt ...
Vielen Dank! Fantastisches Video, sehr klar, sehr detailiert, sehr gut erklärt, sehr hilfreich.
Amazing simple method!
This is the alpha and omega of good technique, so well explained and demonstrated. At last I found stability and control on the black monster😅
Meraviglioso pianista ed insegnante splendido. Grrazie Maestro!!!
Por favor, no hay subtítulos en español!?😢
This is a great explanation, thanks!
Yes, I love the expression, “cultivate our musical ear” - oh how I wish my hands and feet would catch up with my musical ear. 😉😊👍🏽
ditto!
I’ve been listening to a lot of classical music lately and discovered this piece by Schubert and now I’m obsessed with learning how to play it. This video helps a lot, thank you!
Thank you for the excellent lesson. I am practicing this piece and help to improve.
Thank you! These are very useful tips and exercises, my playing improves🙏🏻👍🏻
Thank you! 🙏very helpful
It is a big mistake to lift the vinger again when playing fingerstaccato. This causes unnecessary strain and can result in injury. Better use Peter Feuchtwanger technique or Chopin's method which causes immediate result and heals the strain/injury. Otherwise, the explenation is helpful. See for yourself:)
When do we use which type of thriller (Finger-played triller or handwrist-triller)?
Thank you - so helpful
This mf go crazy 🤯😭
Superb! Love it! 🏆
My only question is, how do you know when there's a new harmony? In the context of repedaling on new harmony.
Sadly this give more confusion than solutions
Dear Maestro, thank you so much for the gold teaching you provide. It's efficient, clear to understand, elegant and so valuable.
I was struggling on the allegro vivace of Schubert’s f minor fantasia « primo » I watched your video. Since I applied , it became a child’s game. In one afternoon! Thank you so much!!!!!
Thank you for your masterclass It is in detail, helpful I am benefited a great deal from the skills you touched Appreciated!
3:16
His hand seems to be the perfect size for a comfortable octave. I have to stretch a bit more.
Thank you so much, what a great lesson. Hope you’re well.
Thank you! Thank you!
thanks for theses exersices
Me having a blast correct my whole arm movement as an adult as I was under the impression that we mostly used our wrist and fingers more
Thank you for the excellent lesson. I have my Associate Performers (1965!); this is my wife's favourite song so I'm working it up for her. Your help has been invaluable.
Thanks for the explaination Sir :)
Hi @Hungarian Piano Tradition Laszlo Gyimesi, thank you for this lesson... But I am afraid my level is not high enough. I would really like to be able to play this piece but I only had rather informal piano lessons from 8yo to 13yo and I was never taught scales, arpeggios or harmony at all... Then I didn't always had a piano and never had lessons again... So I am 36yo now and I started again by myself about 3 years ago. I can play it but not well, with mistakes, and I seem to have reached a plateau in my progression, I don't know how to improve anymore. I need to find a good piano teacher but in the meantime, what would you recommend me to do? I bought a scales book etc but I am not sure how to practice..
thank you very much, this is great advice.
Professor Gyimesi, thank you very much for these extremely valuable lessons. The video mentions a pdf document; where can I obtain a copy? Nagyon szépen köszönjük!
00:02 Transferencia del peso del brazo 00:04 La mano y los dedos como soportes de peso. 00:08 Si necesitamos un gran volumen de sonido enorme, los intercambios se transforman y de ser unidades independientes activas, se convierten en pilares o más bien en arcos bajo la cúpula de la mano, una cúpula que en principio puede soportar todo el peso de nuestra mano. cuerpo Heinrich nehuaus 00:19 Ejercicio preparatorio para la transferencia de peso con el puño: dejar caer el brazo en el teclado 00:24 formar un puño 00:26 mantener el puño estable 00:29 no lo doble ni hacia arriba ni hacia abajo ni hacia los lados 00:40 dejar que el brazo caiga libremente 00:42 Cuanto mayor es la altura desde la que se toca la nota, menos presión o esfuerzo se necesita y, a la inversa, cuanto menor es la altura, más presión = energía se requiere para producir un tono fuerte. El peso de toda la mano y el brazo se regirá naturalmente por requisitos dinámicos y variará desde el mínimo hasta un peso muy considerable para tocar una melodía fuerte. 01:01 aumentar la altura significa más peso / energía, por lo tanto, más sonido. 01:07 caída libre con puño posicionado. 01:13 dejando caer el brazo desde una pequeña altura 01:26 En el siguiente ejercicio, debe dejar caer el brazo desde diferentes alturas y luego verificar si todo el peso del brazo descansa libremente en el teclado moviendo el antebrazo con la mano libre hacia afuera. 01: 50Diferentes usos del peso del brazo: lado de la palma de los dedos de la mano 01:55 Palma y el costado de la mano: transferencia de peso relativamente simple, porque solo es necesario estabilizar la mano, los dedos incluidos y la muñeca. flores somos flores frágiles 02:03 La palma soporta el peso 02:29 El lado de la mano soporta el peso. 03:26 Transferencia de peso con el dedo: mucho más complejo, ya que necesitamos estabilizar las articulaciones de los tres dedos y al mismo tiempo mantener una muñeca libre y un brazo colgando. 03:31 El dedo soporta el peso 03:50 Ejercicio para la firmeza y sensibilidad de los dedos 03: 56 pongo mi antebrazo en el teclado y me apoyo en mi antebrazo. 04:03 Ahora busco una posición desde la que pueda presionar una tecla negra fácilmente. Posición: en el medio del teclado, el dedo redondo y estable. 04:12 con el índice 3,4,5, dedo apoyo el pulgar en la última falange de los otros dedos 04:20 y posteriormente al revés apoyo los otros dedos en la última falange del pulgar. 04:31 jugando con la mano en caída libre y dedos firmes cuatro veces con cada dedo 04:48 posteriormente sin dedo de apoyo 04:52 aumentando la dificultad agregando crescendo y diminuendo 05:00 Comparé el brazo desde el hombro hasta la yema del dedo con un puente colgante, un extremo del cual se fija en la articulación del hombro y el otro con los cinco dedos del teclado. El puente es flexible y resistente, mientras que sus soportes son fuertes y firmes. 05:13 La correcta implementación del peso del brazo implica apoyarse en dedos estables y formar un puente colgante estable. de un lado me apoyo en los dedos 05:24 y del otro lado 05:26 confío en la articulación del hombro. 05:31 Para controlar, que mi brazo cuelga libremente 05:34 Empujo mi brazo hacia afuera y dejo que se balancee hacia el cuerpo. ___________ 05:40 Ejercicio: Puente colgante 05:44 Transferencia de peso a los dedos Estabilidad de los dedos (PDF) 05:48 Las yemas de los dedos son estables y todo el peso está inicialmente en el teclado. 05:49 Posteriormente, quita el brazo que cuelga desde el teclado, hacia el cuerpo. practica con cada dedo, repasando cuatro veces ____________ 06:21 Ejercicios para el pulgar y el quinto dedo Estabilidad de los dedos (PDF) 06:24 En el ejercicio del pulgar, el antebrazo descansa sobre el teclado y, por lo tanto, proporciona una mayor estabilidad de la mano y conduce a la unidad de la mano, los dedos y el brazo. De manera similar, en el ejercicio para el quinto dedo, el pulgar busca apoyo en el costado del teclado. 06:37 para mejorar la función del pulgar 06:39 Pongo mi mano de lado en el teclado y presiono una tecla negra, con un movimiento giratorio. 06:50 para entrenar el quinto dedo, apoyo la mano con el pulgar en el lado (barra) del teclado y golpeo el Do sostenido con un movimiento rotatorio de la mano, estabilizado el quinto dedo con apoyo del pulgar
No me lo creo, hiciste un trabajo increíble traduciendo el vídeo !!!! Muchas gracias!!!!
Excellent! Bravissimo!
wow.. Appreciate for the great lesson.
nice
Thank you for an inspirational lesson! I can play this much better with s greater understanding enhanced by your assistance.
Thank you! Lovely to listen! So much to learn!
What is somewhat amusing is that of all his contemporary composers, Godowsky probably used fewer octaves, at least in the left hand, than most others. His harmonic development was just too good for simple octave fill.
2:04 Beautiful piece.
The sound and action of this piano is just wow ☺️
CLASSIC!! \
I thought he was Rachmaninoff for a sec
same lol
magnifique🙌🙌🙌🙌🙌🙌vous avec des mains immenses je trouve que ça aide beaucoup pour l'accord de LA MI LA à la main gauche moi je ripe part moment sur ces touches ou je ne sais pourquoi je les confonds une fois sur cinq et ça me rend fou car je m'entraine comme un malade ,RESPECT à vous
The fingering Please
I just started looking at this piece for next semester. Thank you for the comprehensive analysis! I'm so glad I watched it before I seriously started working on it. My inspiration came from Khatia Buniatishvili's rendition. 💜🙏
When your German so you don't have to turn undertitels on. Great video too.
Hello sir! Can you share me the PDF or book for the trills your playing! I hope it will help Mr to improve on trills movements. Thanks
Excelente video ! podrían traducirlo al español?
That forearm movement is one of the most common causes of pianist's injuries. Octaves should be played from the fingers with a relaxed wrist..