it is late I am late today we will talk about CORNELIUS GURLITT’s marvellous étude, DAS ARTIGE KIND.
cornelius gurlitt was a classmate of the son of the leipzig conservatory head (and subsequently studied with him). he was a pretty cool guy, became a Professor of Music at the accademia nazionale di santa cecilia (which is supposedly a pretty cool thing to get). he didn’t write music to entertain, but to educate, so he wrote many studies like das artige kind
‘das artige kind’ in english is ‘the good/kind/polite child’. i think. i don’t german, i don’t want to be guilty crown
‘die anfangs-stunden’ means ‘the first lessons’, and this collection in english is ‘the first lessons: 34 short pieces for the pianoforte (opus 117)’. as you expect, das artige kind is the 19th short piece in this collection
you can read the music right here but BEWARE it may possibly be illegal somewhere i don’t know this guy’s been dead for 111 years, alright
if you scroll down you’ll see a difference; it’s played up an octave on the second part. well my OFFICIAL ROYAL CONSERVATORY OF MUSIC NEW PIANO SERIES STUDIES ALBUM 1 & 2 suggests otherwise. what i play comes from my rcm studies book, not the gurlitt collection version (the publisher’s name isn’t even listed there…)
what’s more, i don’t even know when he composed this, or even when it was first published. that’s why for composition date i just wrote ‘between 1820-1901’, since it’s doubtful he composed this before his birth or after his death
anyways that is all. see if you can spot the bulbasaur hidden among my pants
It’s time for the long-awaited sequel to Charles-Louis Hanon’s Le Pianiste Virtuose en 60 Exercices!! Well, not really, because Le Pianiste Virtuose en 60 Exercices (The Virtuoso Pianist in 60 Exercises) doesn’t have a sequel. No, this is the sequel to my first post about the Virtuoso Pianist, and in this part, we’ll cover pianos, fingers, and not much else. If you’re reading this series for the first time, do read the first post’s introduction first. Really. Seriously. Honestly. Lie. Wait, no, it’s not a lie, it’s a -ly
We’ve moved past the Preparatory Exercises, so now, it’s time for harder exercises. In fact, you could even say they’re ‘Transcendent Exercises For Preparing The Fingers For The Virtuoso Exercises’. That’s what Hanon says. I mean, said, because he’s dead (hey, that rhymes), which means… woohoo, we’re still doing preparatory exercises…
Prepare to READ»
It’s Musical Monday, and perhaps just playing Czerny all the time has gotten a little boring for you guys. But don’t sweat, because I’ve got something much more exciting prepared, just for you: Hanon exercises, instead!
Charles-Louis Hanon’s Le Pianiste Virtuose en 60 Exercices (The Virtuoso Pianist in 60 Exercise) is an (in)famous collection of (you guessed it) 60 piano exercises, meant for developing finger and wrist strength, agility, endurance, flexbility, suppleness, you name it. Ask any piano teacher or pianist what the most useful book of exercises are for the piano, and half will probably name Hanon’s. Ask the ones that don’t what the most harmful book of exercises are for the piano, and chances are, they’ll probably all name Hanon’s.
But: you must have at least a year of keyboarding experience before starting Hanon practice. Starting it too early will a) dumb down your musical sense b) force you into amateurish hand postures and c) be impossible to play. If you’re here and want to learn how to play piano, Lypur’s ‘Learn How to Play Piano’ playlist is the perfect tutorial for you! Well, maybe it’s not perfect, and maybe it’s not for you, but do give it a shot. (Look, he’s even made a video about the Virtuoso Pianist and Erster Wiener Lehrmeister im Pianofortespiel!)
Like it or hate it, every pianist has encountered Hanon’s exercises sometime in their lifetime. Thus, in this series of posts, I’ll be venturing to play them all. Like a Pokémon master but without the Poké, without the mon, without the mast, and without the er.
Two posts ago, I began my quest. My quest to play all 100 exercises in Carl Czerny’s book of beginner piano études, Erster Wiener Lehrmeister im Pianofortespiel. What is a piano étude? Well, my previous post explains this and much less (that is to say, it does not explain much more than this), and I strongly suggest you start from the very beginning if you are trying to learn piano.
Actually, if you are trying to learn piano, I strongly suggest you do not try Czerny’s piano exercises at all. The learning curve is too steep, and without a proper piano teacher, your form and posture will be all incorrect. I do not count as a proper piano teacher because my form and posture is already incorrect and its incorrectness is already incorrigible.
This post, we’ll talk about posture, technique, and another guy, Hanon, ‘s exercises. That’s improper grammar and punctuation, but I want to pronounce ‘Hanon’ with pauses at each end, and ‘s exercises together as one word, because English is stupid and French liaisons sound really, really good. Unlike my performances of the following exercises.
Last post, I announced my great expedition to record all 100 exercises from Carl Czerny’s book of études, Erster Wiener Lehrmeister im Pianofortespiel (no, don’t ask me how to pronounce that).
This Musical Monday, you will learn about accidentals and key signatures, the qualities of an étude, and of the history behind this collection.
But without further ado, let us begin with post two (hey, that was a rhyming couplet!).
These rhymes I’ll continue, and ah-ah-ah-achooo»
Alright, guys, it’s time for a new piano project!
That sentence was misleading, because it somewhat implies that I have completed older piano projects, whereas in fact, I have not completed any piano projects! Nor started any, for that matter… until now.
What is the project? The project is to play all 100 pieces in Carl Czerny’s Erster Wiener Lehrmeister im Pianofortespiel (lit. “First Viennese Masters in Piano Playing” (courtesy of Google Translate), or ‘Practical Exercises for Beginners on the Pianoforte’), Opus 599.
Projected outcome: disaster»
Oh man, this is HST Week but I’ve done nothing but HSRs; I swear, I’ve got all the musical stuff planned, but school stuff and parental stuff are seriously hampering my efforts to do something. At least I’ve got that Level E 7 post done (for next next day).
There’s not much more to read»
Well, whaddya know.
I have a new camera.
I’m too scared to use it right now, so I’ll keep on recording with my old one until it breaks – it’s only about 30% broken right now. It can record just fine.
Nothing else to read»
Welp. I’m not sure if ya can hear it or not but my parents are cutting their fingernails or something in the background.
Yeah… recording this was hard, ’cause I wanted to do it at night for the ‘moonlight’ feel. But at night my parents are all yelling at me to sleep, so…
It also seems much louder in the camera than it should be…
Also, there are numerous mistakes even though this is quite a slow piece…
Claude-Achille Debussy was born in France in 1862. He began his piano lessons at seven years old, and three years later entered the Paris Conservatoire.
Though brilliant, he favoured dissonances and intervals not allowed at the time. It was through these that he became arguably one of the most important French composers ever. His music is extremely sensory (though ya can’t tell what with my horrible playing :V), and almost completely opposite the strict harmonic rules of the Baroque period.
His music basically defines the transition from Post-Romantic to Modern music, a major composer in the Impressionist field. He frequently used parallel chords, bitonality, exotic scales (such as whole tone and pentatonic), and sudden modulations.
When he was 28, in 1980, Debussy began work on his Suite bergamasque, a four-movement suite.
Just before 1905, Debussy made major revisions to the work, changing the names of the last two movements (from Pavane to Passepied, and from Promenade Sentimentale to Clair de lune). One of his most famous piano movements was indeed Clair de lune.
It strongly uses tempo rubato, which leaves many things up to the discretion of the pianist. Thus, the actual sound of the piece isn’t too strongly defined by how he composed it, but how someone plays it. :V I just made it sound horrible, sorry ._.
Anyways, in the middle of World War I, Debussy died of rectal cancer. His funeral procession gravely made its way through the streets of Paris, still being bombarded by German artillery shells.
He was 56 years old, and just about the most influential composer of the time.
ALSO my piano chair is squeaky. :V
I took my exam in mid-August, I think (I made an announcement around the time with lots of Lyrica-art :P). However, my camera quality SUCKED.
Dunno why but I just realized it doesn’t SUCK, it’s just fairly bad. So, I recorded this.
Funny thing is, it’s been EXACTLY a month (recorded Gallop on the 16th of August, recorded this on the 16th of September).
My mom stole my roll-y table-thingy, so I had to shoot from another angle – between my piano and one of the legs of my bed! Basically, I put a book on top of both (they’re of similar height) and put the camera on the book. Ya can’t see the book because if ya could it’d look silly.
Yes, that’s a bulbasaur in front of those curtains. No, they’re not curtains, those are my clothes and that’s my closet that doesn’t have a door. :V
My bed’s directly on top of the piano, so ya hear lots of reverberation as it’s surrounded on five sides. The side it isn’t surrounded on has me and
I’m FAAAAAAAAAAAAAAAAAAAAAT that blocks it somewhat as well. OH WELL
I start off really badly because I haven’t played this for a month. Then again, the middle and end are really bad too.
For some background info; Chopin was of French-Polish descent, so he can be called Frédéric François Chopin (what he’s usually called), or Fryderyk Franciszek Chopin. Not sure which one’s easier to spell; the French version sounds simpler but has those c cedilles and e aigus (French class pays off!), and the Polish version just sounds weird. Ymagyne replacyng all those i’s wyth y’s :V
He composed a set of two polonaises; Polonaise in A major, op. 40, no.1, and Polonaise in C minor, op. 40, no… (ya can probably guess which number it is).
When the Nazis invaded Poland, as a protest a radio station broadcast the first polonaise daily. Eventually, the Nazis banned public performances of Chopin and destroyed a statue of him as well.
Some person once remarked that the first was “a symbol of glory, whilst the Polonaise in C minor is the symbol of Polish tragedy”. Though I’m not sure about the second one, and I didn’t play it as it should have sounded like, this polonaise is definitely, very glorious.