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PostPosted: Sun Apr 26, 2009 8:48 pm 
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Hi MOnica,
this weekend I had only time for the first half of chapter 18. I think, I need a little break now, because at this time I have very much to do for my job.

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PostPosted: Mon Apr 27, 2009 4:09 am 
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No problem, Andreas. Whenever you feel like posting something is fine. Nathan has probably read the whole book by now, and I am just sort of following you guys. So we will all just go with the flow.
(that means to take it day to day)

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PostPosted: Mon Apr 27, 2009 2:19 pm 
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No, actually ... I didn't read it at all over the weekend .... although it's KILLING me not to know!!!

anyway, I thought the drunk Jos was hysterical ... I don't know why, but I couldn't stop laughing at his really horrible behaviour.

I too like to go other places when I play. I loved your comment thought about suddenly being at the end of a piece and wondering where the rest of the music went!!! hehe

Gonna catch up to you this morn. So, bbl.

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"You see, my piano is for me what his ship is to a sailor; more indeed: it is my very self, my mother tongue, my life." - Franz Liszt


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PostPosted: Wed Apr 29, 2009 2:31 pm 
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I would like to play on some of these pre-iron harp pianos.
I remember when I was really being forced to perform Mozart at about 12-13 years old, I complained to teacher at time "I feel like I'm being squished into a too-small box". I now think about how frustrating it must have been for those composing greats of time to be confined to a lesser sound than they wished.

I'm starting to wonder if Luc is a smuggler?? That scene with the blacksmith was bizarre. Is there a piano black-market?

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the one, the only ... Nathan Coleman
"You see, my piano is for me what his ship is to a sailor; more indeed: it is my very self, my mother tongue, my life." - Franz Liszt


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PostPosted: Wed Apr 29, 2009 5:05 pm 
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Yeah - poor Beethoven. At least Liszt was around when the piano he needed came to be.

And Nathan, was it that the Mozart pieces you were playing felt like 'small' pieces and therefore you weren't interested in playing them, or were you playing on a different instrument?

A piano black market - hmmm. Wouldn't surprise me. There are piano collectors who probably get into some shady dealings to get the piano they want.

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"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

my videos: http://www.youtube.com/user/monicapiano
my personal website: http://www.monicaalianello.com


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PostPosted: Wed Apr 29, 2009 5:18 pm 
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I played on a modern piano. The rigidity of style and lightness of tone irritated me in pre-romantic music. It made me feel boxed-in ... not free, as with the romantics and later. Of course, now I understand why it made me feel as such.

In any case, just read ch20 whilst stirring the chefboyardee for the monsters. I'd love to do a master class sometime, although I'm finding myself oddly intimidated playing for others (especially knowledgeables) now. Never had a care before. do a google search on feuchtwanger ... interesting stuff ... similar to abby whiteside's philosophy it seems. I believe in this too ... makes mastering technical difficulties much easier.



ps - thinking about next book for club. I have two nominations but we don't have to do them first. I read them as teenager and had a big impression ... would love to revisit them with you guys! The first one is titled "Solo" by Jack Higgins. It's was great fun ... a concert pianist/assassin tours the world.

The other is called "Fingers" by William Sleator. here's the synopsis: Eighteen-year-old Sam has always been jealous of his younger brother, Humphrey, the famous “wonder child” pianist. But now that Humphrey is fifteen, the one-time child prodigy isn’t able to get any more bookings. Sam’s mother refuses to accept that Humphrey’s career is over and devises a scheme to recapture his fame: Sam will compose “new works” by a long dead gypsy composer, and they will tell the world that the composer is dictating the music to Humphrey from the grave. The scheme is a wild success—until some ghostly occurrences convince Sam that the spirit of the dead composer has actually taken over Humphrey’s fingers. Have Sam and his family unleashed a force from beyond the grave?

This second book started my obsession with Liszt. Although a fictional composer in the novel, it seemed loosely based on Liszt. Anyway, let me know what ya'll think when we finish with this one. I'm THOUROUGHLY enjoying this so far!

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"You see, my piano is for me what his ship is to a sailor; more indeed: it is my very self, my mother tongue, my life." - Franz Liszt


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PostPosted: Wed Apr 29, 2009 6:52 pm 
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haha - well, I just inhaled a plate of spaghetti because I was starving.

I'm ready to read chapter 20, just kind of waiting. I'll do it later today.

And all those books sound great! I think I've read Jack Higgins before but I can't remember what. But that "Fingers" book sounds like something right up my alley. Reminds me of another book I read a couple years ago about a woman whose body is taken over by Franz Schubert. She can suddenly play piano like an expert, stuns the teachers of Juilliard and then Schubert leads her to his 'Unfinished Symphony'.

So let's go for Fingers next. Maybe we can round up some more members too?

Ok, I'm going to look up that word now after I finish up doing a new member.

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my videos: http://www.youtube.com/user/monicapiano
my personal website: http://www.monicaalianello.com


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PostPosted: Wed Apr 29, 2009 7:10 pm 
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pianolady wrote:


Ok, I'm going to look up that word now after I finish up doing a new member.


HHMMMMMM ..... man, when I signed up all I got was a handshake from Chris and a distant wave from Robert! :lol: 8)

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the one, the only ... Nathan Coleman
"You see, my piano is for me what his ship is to a sailor; more indeed: it is my very self, my mother tongue, my life." - Franz Liszt


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PostPosted: Wed Apr 29, 2009 7:20 pm 
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Location: Obamanation, unfortunately...
nathanscoleman wrote:
pianolady wrote:


Ok, I'm going to look up that word now after I finish up doing a new member.


HHMMMMMM ..... man, when I signed up all I got was a handshake from Chris and a distant wave from Robert! :lol: 8)




Image

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PostPosted: Wed Apr 29, 2009 7:51 pm 
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aha ha ha - very funny. You both better watch it, or I'll give you a Chinese foot massage. (they hurt!):lol:

And that word, feuchtwanger. I thought it was a kind of sausage, but it looks like it's a person, right? I only briefly glanced at some articles. Not sure where it says anything about mastering technical difficulties.

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"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

my videos: http://www.youtube.com/user/monicapiano
my personal website: http://www.monicaalianello.com


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PostPosted: Wed Apr 29, 2009 8:07 pm 
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*striving to contain a sausage joke* :cry:

In any case, when you read ch20 ... he conducts a masterclass.

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the one, the only ... Nathan Coleman
"You see, my piano is for me what his ship is to a sailor; more indeed: it is my very self, my mother tongue, my life." - Franz Liszt


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PostPosted: Wed Apr 29, 2009 10:00 pm 
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I haven´t still read chapter 20, but I think, I´ll find some time at the weekend. (I have read ch. 18 now and will start tomorrow with ch. 19.)
Lion Feuchtwanger (1884-1958) was a famous german author, well known for his historical novel like f.ex. "Jud süß", "Die hässliche Herzogin Margarete Maultasch" and the "Josephus-Trilogie". So, a bit another "thing" as a sausage, alas! :lol: Or may be you mean Wilhelm Furtwängler, which was a famous conductor?
Don´t know, if that helps you.

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PostPosted: Thu Apr 30, 2009 1:53 pm 
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peter feuchtwanger actually

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the one, the only ... Nathan Coleman
"You see, my piano is for me what his ship is to a sailor; more indeed: it is my very self, my mother tongue, my life." - Franz Liszt


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PostPosted: Thu Apr 30, 2009 5:04 pm 
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Ah, o.k., the pianist with his method of a physiological, psychological cure at the piano...Didn´t come on this thought first... :roll:

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PostPosted: Sat May 02, 2009 3:55 pm 
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I just finished reading chapter 20 and found it very interesting! It hit on a couple points I am currently dealing with. The first is what Feuchtwanger teaches. I’ve heard others talk about that same philosophy about staying in a relaxed position, striking the note, and then going back to a centered repose. My own teacher has tried to get me to that too, because much of my tendonitis problem stems from remaining tense all the time when I play.

I’m working on a piece with a difficult LH fast ascending arpeggio and when I do actually remember to relax, it goes better. However, I can’t relax too much or it doesn’t go at all. For me, I have to tell my brain to relax and don’t get so nervous about that arpeggio coming up. But when I actually start on it, I have to play really hard and forcefully to get it to go to the top.

The other point I found interesting is when he admonished the young student when she didn’t want to take a repeat. I liked when Feuchtwanger said, "A repeat is never the same." Made me think of that Bach Aria in which you can play the ornaments differently in the repeats. Remember talking about that, Andreas? I was thinking of not doing a repeat in the same piece I’m working on that I mentioned up above, but now I think I will.

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"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

my videos: http://www.youtube.com/user/monicapiano
my personal website: http://www.monicaalianello.com


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