Leon Fleisher Masterclass

I recently attended a master class at the Colburn School of Performing Arts in March taught by Leon Fleisher. The program presented by the students consisted mainly of Brahms and a Schubert Sonata in A Major.This master class was particularly engaging because Mr. Fleisher encouraged interaction with the general audience as well as with himself and the performing musician. During his discussion, he stated that the three main parts that constitute Western style music is melody, harmony, and rhythm, the last being the most important of the three. He believes that it is possible to play slow and fast in the same tempo, based on the rhythmic inflections the performer uses in the piece. For example, making the long notes longer and the short notes shorter in contrast will lend a more upbeat feel, even if the tempo remains the same. Mr. Fleisher also led a discussion on the use of pedal. It is his conviction that the pedal must be consistent with finger work, and though the pedal appears to enlarge sound, in reality it is only mixing the sound, messing up the harmony, rather than enhancing the sonority. Lastly, the sound produced must be a horizontal journey, and to be cautious to not use accents as they act as an audible impedient in a moving line.

Yundi Li Gives Astounding Concert

I have always been impressed with the story of the brilliant pianist Yundi Li. Leaning how to play the piano after the accordion at the age of 7, he has since become a pianist of prodigious talent. Winner of the prestigious Frederic Chopin Competition and numerous other international competitions, I was of course excited this March when I went to hear him perform Liszt's Piano Concert No. 1 with the Los Angeles Philharmonic at the Walt Disney Concert Hall in Los Angeles.

Previously, I had heard that much of his renown stemmed from his excellence at playing the works of Chopin, but not Liszt. Although he fancies himself an expert on both composers, many critics have observed that his performances of Liszt have never come off as strong as other performances. However, it seems that Yundi Li has finally overcome this criticism. As he began the first movement of the Liszt concerto, his strength and dexterity was unparalled as he threw himself into turbulent passages of contrary octaves and sweeping chromaticism. Yet, his skill was tempered with complete sophistication and refinement as he entered the second movement, which was as lyrical and as beautiful as a Chopin nocturne. Perhaps this was Yundi at his best, as he was given the chance in this slower section to touch his audience with an astounding quality of tone and tenderness. On the whole, Mr. Li has matured into a great pianist, who will surely join the ranks of past legendary pianists.