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This is what I mean by physical pleasure in playing, that is, the opposite of what sometimes happens by mistake.
We know that our brain is capable of producing endorphins.
It is a piece of high school level, a piece for keyboard "heavyweights," and yet, observe the expression on the pianist's face during the tightrope walking evolutions of his hands, an unmistakable smile of pleasure:
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tgdigit wrote:
and yet, observe the expression on the pianist's face, during the tightrope walking evolutions of his hands, an unmistakable smile of pleasure:
One thing I have often noticed is that Jazz musicians are better at this, they really enjoy it ... classical players always seem to be preoccupied with a million problems.
Now I'll look for an indicative video for you 😉
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Even a little girl
Hiromi Uehara - The Tom and Jerry Show
Try watching the first 2 or 3 minutes or at 2 and a half minutes 😉
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Frank wrote:
One thing I have often noticed is that Jazz musicians are better at this, they truly enjoy it... with classical players, it always seems like they are burdened by a million problems.
Now I'll look for an indicative video for you 😉
I don't know, there is the "show" component which carries weight, unlike the classical musician who doesn't have to worry about it at all; in fact, quite the opposite.
That is, with all due respect (I don't mean to put them on the same level, heaven forbid), it reminds me of the printed smile on the faces of dancers performing TV variety shows, solely for the purpose of gaining an audience.
Those smiles, those winks directed toward the audience, seem to me to be of a different origin.
No one could say with any certainty that the smile directed at the audience coincides with a personal sensation and is not simply a part of the show.
The smile of the pianist, on the other hand, appears as pure personal pleasure for what he himself is experiencing and nothing else.
Release of endorphins.
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Dearest all, I am of the opinion that PLEASURE is at the foundation of every artistic form: it is the Freudian pleasure principle, that of eternalization, which in poetry, in music, in all art breathes and allows its realization: without it there is no art. Tolstoy's The Kreutzer Sonata speaks precisely of this... Which is why artist is also a synonym for "lover," in my view. I myself, in my own small way, have dedicated a poem (Perpetual Pleasure) to that which is so vital and torturous for an artist. Yes, torture. Because, at the root of pleasure, there is feeling... and to feel is to suffer, as the dear genius Leopardi used to say...
I embrace you.
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Of course, here we go further.
The pleasure of making music, the love for music, the passion.
It can be transmitted, transferred to one's students, or, at least, one tries:
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No, I am talking specifically about the principle of pleasure that an artist feels when making art, which is not just a simple pleasure of doing something... 🙂
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I think I understand, but I would like to suggest this video.
Try to enjoy it until the end, it is pure love.
Music, or rather, more precisely, a piano interpretation, can also signify a timeless space; it can describe the otherworldly.
"Music is proof that miracles exist," says Pires:
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I quote Vale... it is indeed very true that through the pleasure of doing what one is, in a certain sense, we reveal ourselves by loving ourselves and loving art... art is a free gesture of love that the artist gives to everyone
@ It goes without saying.... Great Frank for the choice.
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Frank wrote:
Even a sissy
Hiromi Uehara - The Tom and Jerry Show
After a long time I see her again, I renew my desire to marry her 😃
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tgdigit wrote:
I wouldn't know, there is the "show" component which carries weight, unlike the classical musician who doesn't have to worry about it at all, quite the opposite.
Show or not, it really seems like they enjoy it 😉 And besides, even the classical musician puts on a show 😉
tgdigit wrote:
That is, with all the necessary distinctions (I don't mean to put them on the same level, for goodness sake), it reminds me of the smile plastered on the faces of dancers performing television variety shows, purely for the purpose of gaining an audience.
... I suspect that Erroll Garner doesn't need it 😉
tgdigit wrote:
The smile of the first pianist, on the other hand, appears as pure personal pleasure for what he himself is experiencing and nothing else.
It could be, and fortunately so 😉
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Nice videos...
I also think that explicit enjoyment is linked to context, but I believe that the various expressions of pleasure (not necessarily smiles) are at least partly due to the pleasure of listening to oneself, rather than playing, and this is perhaps the dividing line between the various approaches.
I want to propose two videos of a different nature:
enjoy watching
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GnazzJazz wrote:
Nice videos...
I also think that explicit enjoyment is linked to the context, but I believe that the various expressions of pleasure (not necessarily smiling) are at least partly due to the pleasure of listening to oneself, rather than playing, and this is perhaps the dividing line between the various approaches.
I want to propose two videos of a different nature:
Enjoy watching
Very good, I completely agree.
The video with Dudley Moore is fantastic, a true stage "animal", a force of nature, a born comedian.
For him, the piano is just an "accident along the way" to perform comedy by dismantling a certain "seriousness" of the classical pianist.
The beauty is that he uses a simple little tune with no pretensions as a pretext and transforms it into a "dramatic" work; from this jarring contrast, comedy is born.
His comedy, then, does not stop there, but continues and is explosive even when he sits on the sofa; in short, a great one.
If I may say so, I notice a certain rigidity in the movements at the piano, so I don't think there is real pleasure, but the context is quite different and the function, perfectly achieved, is that of a comedic show.
In the other video, however, the context is quite different; naturally, here, it is probable that it involves pleasure, even internalized, in making music.
I propose an example of comedy from a great "local" stage animal, a classical-jazz pianist:
And an example of "internalized" pleasure from another great classical performer, in the role of improviser:
Finally, a comedic duo of musicians, who also juxtapose two musics light-years apart in a jarring way: the James Bond soundtrack and Mozart:
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Pires is extraordinary but..... how much frustration can be perceived in the struggling student
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I take the liberty of sharing my thoughts regarding the comparison between the jazz musician and the classical one: improvisation is spontaneity, it is born in the moment and, when it works, it even surprises the musician; it is certainly very fun. Personally, when I improvise, playing becomes much easier for me; I never think about technical problems, my hands glide smoothly and manage to do things that, if I had to read them on paper, I would have to study for days.
"Classical" interpretation arises from a text; it is made of study, understanding, memorization, and sedimentation, and it certainly also requires discipline and hard work (who sits down in front of a Chopin ballad and plays it like that, on the spot?). However, if the study succeeds (and for me it isn't always so), one forgets everything—the page, the hands, the fingers; we feel as one with the instrument and with the piece... great music, the written kind, is capable of transmitting a feeling of absolute existential fulfillment rather than just pleasure.
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When I see these people, I experience various sensations and feelings, but never envy; on the contrary, it seems to me that I can discern in them, and in those like them who engage in music, how to cross a boundary that is unknown to many and unreachable for almost everyone else. They give me the sensation of having within reach a freedom that only a few can claim to have (because I am certain that most do not boast of this quality), but rather putting themselves unconditionally at the service of music itself, and of their creativity, which very often goes hand in hand with the creativity of others.
On one hand, I see myself as I could have been (just as another person might see them), not because I was or am a promising pianist (on the contrary, it is quite the opposite), but as a part of me that needs music to express itself; and unfortunately, without a technique, not even up to these levels, and without a passion that exists but does not have the same power as a few years ago, what comes out will never be the maximum I could and can give (I think the same applies to others). It is truly paradoxical: I am a train of thoughts; when I walk, I am more than active, but when I "play," I need peace, and the touch of the keys is sometimes necessary to re-establish an inconsistent inner tranquility. The more aggressive part, on the other hand, struggles to come out, and once it wasn't like this, so (without writing a comedy) I say: let there be such people,
it is always a pleasure, and they truly give momentum to music.
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Each of us expresses themselves in different ways and in different dimensions. Everything is precious. So do not feel like giving up on expressing yourself even with small things, small compositions, or rather with great little compositions that can caress your artistic soul. Not all musicians must express themselves in a virtuosically aggressive way. It may seem strange to you, but a Mozart adagio can require long and profound work, perhaps more than an apparently difficult episode of a Liszt rhapsody! You can express your musical ideas exactly as you said: with great peace and well-being and by seeking the right sweet contact with your instrument. So,..... "go for it, Music"!
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Thank you for the answer, it is certainly an approach that is not easy to follow and establish, but in effect it is a bit like knowing oneself, understanding better how we are made, and based on this, acknowledging it and seeking, in addition to improving, to make the most of even the bare minimum so that what we have to express comes out as similar as possible to our feeling.
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tgdigit wrote:I wouldn't know, there is the "spectacle" component which carries its own weight, unlike the classical musician who doesn't have to worry about it at all; on the contrary.
It seems to me that this fellow is on the verge of orgasm ... and it's a classic
Uto Ughi Paganini Fantasia
http://www.youtube.com/watch?v=n2UAlB6uGaU&feature=related
