It’s always a treat to hear cellist Alisa Weilerstein, who has visited the Cincinnati Symphony Orchestra five previous times. This weekend, Weilerstein, a champion of new music and a winner of a MacArthur “genius grant,” performed a work written for her by Matthias Pintscher.
Click here to read the review.
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Dear janelle:
Agreed.
Here about this sunday Afternoon. Thanks for sharing.
These are my notes as I was close to the piano:
– no tension
– immediate relaxations (thinking about Alexander technique for ex)
– soft wrist
– economy/paucity/efficiency of movements
– arms still
– very small angles of finger articulations
– soft key touch and letting key bounce back to the finger
– spider like finger movements sometimes changing finger on a pressed note
– so no time (in milliseconds) wasted allowing for speed
– sensitivity to the bounce, softness of a particular piano to maximize quality of sound
– hence velvety /“veloute”/velours legato
– perfectly equal time for each note
– mini/micro movements for thrills.
– hand hovers over keys
– soft chords letting hand fall inn controlled manner instead of banging; and after it, lifting arm and relaxing wrist
– body quiet and arms too allowing for precision of movements
Much technique magic work and talent
Respectfully
Paule Asch
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