This is the most enjoyable stage. He's done all the hard work, his technique is excellent, and now it's a game of moulding an accomplished performance into one bursting with nuance and character.
I thought Goode made some really good points about the minute changes that made a large difference, but I'd much rather see him in a Beethoven masterclass. His Beethoven playing always has me speechless
I agree with lourak613. Sung-Soo Cho already prepared it extremely well and played this charming piece to a high level, but Richard Goode still managed to get across some of the finer points in this piece. Yes, the beginning of it should be a bit like a cinematograph - one little picture and then the next one etc. I hardly disagreed with anything RG said.
Well, the most interesting French indication happens in m. 6 of this Impressionistic piano music gem by Debussy, from "Les Collines d'Anacapri", which means "The Hills of Anacapri". The French term is "Serrez" in measure 6. Let me tell you what it means. It means "tighten" (from "serrer", to tighten). Imagine you are a DJ, and you tighten your samples in the "riser" passage of an EDM song before the climactic, loudest part of the dance song called "the drop". So, with my French knowledge (which is very good), and me playing the piece before 28 times and heard lots of recordings by other live pianists, "Serrez" is equivalent to these French terms, "accelerez", and "pressez", which both mean to accelerate the tempo, So "Serrez" is something like "accelerate the tempo", and if I did that do a master teacher, this would be the correct interpretation of what Debussy wanted in this prelude from Book 1.
Also - remember these final 2 French terms in the next-to-last and last measures. The penultimate measure is indicated "Lumineux", which means "sparkling", "luminous", "radiant", "very bright". The final measure is indicated "Tres retenu" - which means something like "molto piu sostenuto" in Italian - so this means "hold back the tempo very highly or greatly."
Because if they put their right hand on the piano, they’d be facing the back of the stage! Not all pianists do it. Yuja, Kissin, don’t. They have very dramatic bows. They raise and lower the bench because you need proper leverage over the keyboard to get the most power as well as the most control. Piano technique starts from the shoulder. And after years and years and years of practice, you get to know what position will be right for you. It’s different for every person.
Sung-Soo Cho presents a thoroughly realized and personal interpretation of this piece, bravo. Mr Goode wastes all of our time and has little to contribute. I have sat thru, and participated in many hours of this kind of "master class" and have come away with a very low opinion; essentially a waste of time. Mr Cho should continue on his own personal path and not be diverted by the likes of Mr Goode. Incidentally, I played in orchestra with Mr Goode playing a Mozart concerto (several years ago).
Yes, Mr Cho is the greatest Debussy performer, his interpretation changed my life, nothing could have been done better. Come on, a little respect for Goode's experience.
I am truly at a loss to understand your comments - you seem to be an experienced musician. I know this piece very well - I have studied it in exquisite detail, and I found Mr. Goode's insights to be almost revelatory in terms of making sense of the diverse compositional elements in this work. I have already incorporated many of his suggestions and have found enhanced appreciation of the piece and a more coherent approach in the execution of this difficult piece. His initial comments, alone, regarding the restraint he advises in rounding off phrases, brings a whole new and exciting conception on Debussy to my playing. Just an opinion...
Dude your entire channel is just those hideous digitally generated performances, shut the fuck up. One of the points he makes is the same advice mature masters always give young students in these masterclasses - listen to the long line, don't zoom in on every individual note to the detriment of the larger picture
But isn't it the student's challenge to decide what to take away from the Master? At this level, he can't just obey because (1) he's not a pigeon and (2) another Master might tell him something very different. So that is his path, to navigate contradictions to a higher level of understanding. As a novelist, my teachers had the highest level of acclaim. They never expected me to just obey them because they wouldn't let a pigeon into their Master Class to begin with. One Pulitzer winner told us he only accepted the "sick f**ks" into his class. I thought he was a horrible teacher, yet my writing was transformed in his class.
This is the most enjoyable stage. He's done all the hard work, his technique is excellent, and now it's a game of moulding an accomplished performance into one bursting with nuance and character.
It was really nice seeing that young man so interested/curious and who kept smiling through these 30 minutes.
A trick: you can watch series on InstaFlixxer. I've been using it for watching lots of of movies during the lockdown.
@Trevor Luciano Yea, I have been using instaflixxer for since december myself =)
@Trevor Luciano Yea, I've been watching on InstaFlixxer for since november myself =)
My favorite debussy prelude.
Thanks for listening!
Excellent class with a great contemporary artists. Thanks and please keep it up.
Richard Goode is always GREAT!!
Richard Goose
I thought Goode made some really good points about the minute changes that made a large difference, but I'd much rather see him in a Beethoven masterclass. His Beethoven playing always has me speechless
Debussy>Beethoven
@@pjflynn5978 - 🐴 💩
素敵です！ありがとうございます♪
I agree with lourak613. Sung-Soo Cho already prepared it extremely well and played this charming piece to a high level, but Richard Goode still managed to get across some of the finer points in this piece. Yes, the beginning of it should be a bit like a cinematograph - one little picture and then the next one etc. I hardly disagreed with anything RG said.
Goode masterclass on Goose
Well, the most interesting French indication happens in m. 6 of this Impressionistic piano music gem by Debussy, from "Les Collines d'Anacapri", which means "The Hills of Anacapri". The French term is "Serrez" in measure 6. Let me tell you what it means. It means "tighten" (from "serrer", to tighten). Imagine you are a DJ, and you tighten your samples in the "riser" passage of an EDM song before the climactic, loudest part of the dance song called "the drop".
So, with my French knowledge (which is very good), and me playing the piece before 28 times and heard lots of recordings by other live pianists, "Serrez" is equivalent to these French terms, "accelerez", and "pressez", which both mean to accelerate the tempo, So "Serrez" is something like "accelerate the tempo", and if I did that do a master teacher, this would be the correct interpretation of what Debussy wanted in this prelude from Book 1.
Also - remember these final 2 French terms in the next-to-last and last measures. The penultimate measure is indicated "Lumineux", which means "sparkling", "luminous", "radiant", "very bright". The final measure is indicated "Tres retenu" - which means something like "molto piu sostenuto" in Italian - so this means "hold back the tempo very highly or greatly."
And, yes, I do play the piece myself (or try to).
I`ve Played this piece for a long time, and coudn`t agree more with Goode with his perspective.
Can someone tell me why pianists put their left hand on the piano when bowing? And then what's with all that bench adjustment?
Because if they put their right hand on the piano, they’d be facing the back of the stage! Not all pianists do it. Yuja, Kissin, don’t. They have very dramatic bows.
They raise and lower the bench because you need proper leverage over the keyboard to get the most power as well as the most control. Piano technique starts from the shoulder. And after years and years and years of practice, you get to know what position will be right for you. It’s different for every person.
@@gatesurfer Thanks for this valuable information. Having never played the piano, I am glad to have an explanation - finally.
Hönk
Hazah! A man of culture!
🙏❤💐🍀🏆
16:01
Great student, but teacher drinks too much mountain dew for Debussy
Sung-Soo Cho presents a thoroughly realized and personal interpretation of this piece, bravo. Mr Goode wastes all of our time and has little to contribute. I have sat thru, and participated in many hours of this kind of "master class" and have come away with a very low opinion; essentially a waste of time. Mr Cho should continue on his own personal path and not be diverted by the likes of Mr Goode. Incidentally, I played in orchestra with Mr Goode playing a Mozart concerto (several years ago).
Yes, Mr Cho is the greatest Debussy performer, his interpretation changed my life, nothing could have been done better. Come on, a little respect for Goode's experience.
I am truly at a loss to understand your comments - you seem to be an experienced musician. I know this piece very well - I have studied it in exquisite detail, and I found Mr. Goode's insights to be almost revelatory in terms of making sense of the diverse compositional elements in this work. I have already incorporated many of his suggestions and have found enhanced appreciation of the piece and a more coherent approach in the execution of this difficult piece. His initial comments, alone, regarding the restraint he advises in rounding off phrases, brings a whole new and exciting conception on Debussy to my playing. Just an opinion...
Dude your entire channel is just those hideous digitally generated performances, shut the fuck up.
One of the points he makes is the same advice mature masters always give young students in these masterclasses - listen to the long line, don't zoom in on every individual note to the detriment of the larger picture
what?? RG offers tons of excellent advice!
But isn't it the student's challenge to decide what to take away from the Master? At this level, he can't just obey because (1) he's not a pigeon and (2) another Master might tell him something very different. So that is his path, to navigate contradictions to a higher level of understanding. As a novelist, my teachers had the highest level of acclaim. They never expected me to just obey them because they wouldn't let a pigeon into their Master Class to begin with. One Pulitzer winner told us he only accepted the "sick f**ks" into his class. I thought he was a horrible teacher, yet my writing was transformed in his class.
1) Honk Honk!
2) De Bussy