Not quite true. You must have the required mental and physical and emotional abilities. My friend with Asperger's friend can't do it, no matter how much he wants it.beethoven wrote:Indeed that is very true. If you really want to achieve something and you believe in it, then you will achieve it.
dnephi wrote:Not quite true. You must have the required mental and physical and emotional abilities. My friend with Asperger's friend can't do it, no matter how much he wants it.beethoven wrote:Indeed that is very true. If you really want to achieve something and you believe in it, then you will achieve it.
beethoven wrote:dnephi wrote:Not quite true. You must have the required mental and physical and emotional abilities. My friend with Asperger's friend can't do it, no matter how much he wants it.beethoven wrote:Indeed that is very true. If you really want to achieve something and you believe in it, then you will achieve it.
At the moment my goal piece is Granados spanish dances.
@ PJF, those concerti are great piano pieces, and the Etudes are amazing, but to master them all first is an incredible goal. I personally would just choose the Etudes that I like and examine which technical aspects are most required.
And I think you might want to examine some Liszt Etudes for technical requirements that would be more present in Rachmaninoff's work. I wish you the best of luck in all of this and I want to hear how you progress. I share the similar goal, but, yea, it's too hard for me now.
PJF wrote:My comments in italics
I'd like to hear about your progress, too. Thanks for the encouragement!
Here's some words about my current project.
Liszt doesn't interest me right now, as a long term project, for good reason. I know myself well enough, that I would drive myself to either injury or insanity, in the attempt at Lisztian virtuosity. I'm too ambitious and driven to risk it. The problem I face is, once I start a project, I must finish it, to the n'th degree.
I know what you mean. I heard about the TE's from my mother's graduate music composition class where they were lectured on the musical aspects of the Mazeppa for three weeks. Incredible! I had to hear this piece. I saw it on google video. I was shocked and amazed. I could not believe the intensity of the drama and the pathos of the situation. I watched the video every day for weeks. I didn't dream I could play it. I borrowed the score from the library one day to see what it looked like, and, possessed by some fit of youthful aspiration, I attempted it. I can't remember what it was like, learning it at first. I just read through it slowly in April I think, deciding to seriously practice it later. I was not technically ready, and certainly not technically ready to choose the 24-24 fingering, which I did. I practiced it in addition to my lesson materials. When I realized how much work I had put in and I wasn't close to having learned it, I could have given up, but the desire to not let my efforts go to waste led me to the conclusion you had in the paragraph below. I practiced and practiced and practiced. All that remains is polishing and deciding how I am going to play the slow section. I took the 14 points available at pianostreet performance section, "A fresh perspective" thread, and am applying those principles to it. I am examining the overall structure so that I can demonstrate the mastery of the piece, and similar to Brahms, somehow convey the depths of emotion intensity in this piece, which are immense. It reminds me of the poem Invictus, talking about his "unconquerable soul" and that he is the "master of my fate" and the "captain of" his soul, no matter how hard chance, circumstance, and in this case, the horse, beat up him. This "drama of the soul" is something that I want to and I can give justice.
I wasn't at the technical level required beforehand, but I am now. What shocks me is that this journey seems to be something that the accomplished amateur (I am not going to be professional, sorry if you are) must go through, as a rite of passage. Now, I feel technically able to handle anything. Jumps, repeated notes, speed, rythmic accentuation, passagework, going up and down the keyboard, and others are conquered because I learned the Mazeppa. Chopin Etudes are where I plan to develop more technique, and I have learned only one of them :p.
I could never be satisfied playing only some of Liszt, I would feel compelled to learn [I]all of it. (Although not recently practiced, I do know several of Liszt's pieces.) So now, I concentrate on Chopin (and Bach, Beethoven and Mozart) and composition. My plate is full. Scriabin, Liszt, Debussy, Scarlatti, Rachmaninoff and Shostakovich, et al., will come later.
Beethoven, Bach, and Liszt are the pillars of the repertoire. I agree that I have a similar future agenda
I listen to everything. My nighttime habit is to listening to recordings while following along with the score. When I finally play one of these well listened pieces, I'm so familiar with the sheet music and the melody, I learn it very quickly. Listening is a great form of practice, too often underestimated.
My great-grandmother, who was professional, often did this and told my mother, her student, to do it on pieces before/during learning it. Great advice and idea of visualization.
I read everything I can get my hands on. If it's a book about the piano, I've probably read it. Learning is a fountain of inspiration.
About the Chopin etudes, one day in May 2002, for no particular reason, I decided to learn them. At first, they were way beyond my ability. At the time, it seemed more likely for me to run a three-minute-mile, than to play these apparently impossible pieces. I felt the cruel hand of reality strike me down. I was afraid.
In the early months, I constantly, obsessively wondered what the outcome of this endeavor would be. Without a single second's respite, I talked myself into believing that, even though at that particular moment, I didn't know how, I could play them. Bypassing the hindering notion that I might not succeed, required a terrifying leap into the unknown.
I persisted; month after seemingly endless month; emotions ranging the full spectrum. Voratiously reading all things pianistic, my frame of mind gradually matured; from self-doubt to confidence, frustration to motivation, rage to euphoria, angst to peace, depression to joy. Armed with knowledge and courage, I pressed on.
Nearly two years into it, my pace quickend. After spending twenty months and hundreds of hours on the 10/1, I began learning other etudes. Over the next two years, I surprised myself by fairly well mastering all of opus 10, and part of opus 25. In June of 2006, I began work on the E minor concerto, and memorized it in only ten weeks. I'll begin work on his F minor concerto in June of 2007. I hope to have both concertos very well learned, if not mastered, by Fall 2009.
Wow, that's amazing
I now see myself as a developing Chopin specialist. My lifetime goal is to master all of Chopin. My decade-goal is to have all 27 etudes, 27(sic) preludes, four scherzos, four ballades, ten mazurkas, twenty-one nocturnes and two concertos truly mastered by Fall of 2010. If I can do that, and if my upcoming competitions go well, I'll have a repertoire capable of supporting at least a modest career in performance. At this point, the task at hand has shrunk to tangible proportions, thank God.
Wow. How old are you now?
Liszt will have his day.
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