Look For Debussy The Complete Works For Piano 2 at Amazon
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Most people think you need to learn sophisticated chords and lots of them to play “good” piano music. Wrong! You don’t need to learn 100′s and even thousands of chords you’ll never use. What’s perfective for the beginner and experienced player too is to limit choice! Just a few chords, a scale to improvise in, and we’re off creating a world of sound! For example, take the lesson “Winter Scene.” Here we have 2 chords played by the left hand. We use a sure pattern to play these chords with and we’ve produced a harmonic background. All that’s left to do now is to add in the melody (foreground) and that’s it – an improvisation that may last as long as the improviser is in the present moment and the music remains fresh. The gorgeous thing regarding limiting choice is that it gives you focus. You don’t have to think regarding how some chords to play what chords to play, etc. Instead, you may focus your originative energies on improvising melody. What a divergence this approach may have for newbies at improvisation! No longer attempting to master technical aspects, they may genuinely take pleasure in the routine of being in the moment and creating spontaneous music. So galore humans think they can’t do this because they’re frighted they don’t recognise what they’re doing or that it will sound bad. All excuses! By jumping in the water and starting out EASY, a finish beginner may get started enjoying the great art of improvisation. Most helpful customer reviews 18 of 23 people found the following review helpful. Debussy was quick to realise this situation and to grasp both its dangers and challenges. In this CD performed by Bavouzet, we find a truly French artist demanding clarity and logic as a basic aesthetic consideration which makes him discard the romantic tradition, all chaos in structure and the amount of subjectivity. In the Ballade, Bavouzet furnishes the obvious stimulus to a Slavic ballade which contains the basis of the theme Debussy was later to use in “La plus que lente.” Melodically the Ballade is unduly repetitious, yet Bavouzet provides a performance that is eclectic, incisive in thought and offers certain aspects of Russian melodies and modulations that convey pianistic instrumentation. The sketch of “D’un Cahier D’esquisses” was not really intended as a piece. It is however, a very rich sketch from the notebook of a genius. When Debussy wrote it, he was under the charm of “The Sea,” and Bavouzet truly does not fail to find many of the tonal impulses which are at the core of the score of “La Mer”, and contains the seeds of the thematic material of the great orchestral poem. The first performance of “Estampes” was given on January 9th, 1904, and follows the development of tonal texturing. Bavouzet perceives its ever increasing richness, the ability to transform into music the most abstract vision in an amazing way. He conveys the exact modal colour, the exact rhythmic counterpoint, and the most telling architecture to compel us to share Debussy’s vision to the utmost. It is strange to reflect that only three of the six “Images” are performed with any degree of frequency and that these do not enjoy the remarkable popularity which they should. In performance, Bavouzet brings a demanding element of imagination and a greater transformation from ordinary events. Their appeal is considerably richer, but also the less easily accessible. Time and thought will remedy this factor, as it will also do in the case of the “Etudes.” “L’isle Joyeuse”, is one of the most orchestrally conceived piano works. Bavouzet takes a more modern approach which represents an equivalent to the Lisztian endeavor in piano literature. He makes use of modern texturing and it is indeed imbued with the gaiety, animation, and sensual atmosphere of the Watteau painting. It is indeed probable that “Masques”, was primarily intended to be a part of the “Suite Bergamasque.” Bavouzet successfully reflects the necessary freshness and youth along with obvious thoughts of the personages of the Italian comedy and mischievous characters. “Suite Pour Le Piano”, is a major landmark in the history of piano literature, and perhaps one of the most significant masterworks in this form. Bavouzet’s playing is crowning throughout. It is playing that is freed from empty mechanistry, stuffy display, but does not fall into license. He recaptures gaiety, fluency, and charm, rhythmic life and novel harmonic energies. In “Danse (Tarantelle Styrienne)”, Bavouzet conveys his highly creative individuality from the standpoint of melody, voice-leading, harmony, and rhythm the “Danse” is already definitely stamped by Debussy’s personality. This recording is totally enjoyable with each performance marked by remarkably clear textures and atmospheric character. The melodies are refined reflecting the outstanding acoustic qualities, finesse, revelatory clarity, and compelling persuasiveness throughout. Bavouzet’s playing is impeccable and his innate understanding of the idiom is miraculously true. Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (honorary) |
Playing Filled With Atmospheric Vision!