Pianism

Rarity Wednesday: “Chopin” from Lanterne Magique Op. 66 no. 2 – Benjamin Godard

As explained in an earlier post, Rarity Wednesday is just a brief little post that comes out mid-week with the idea of presenting a rarely heard/performed piece for your consideration. I appreciate that not every piece will be to the liking of all, but it is hoped that, regardless, it encourages further research. The Romantic period is a mind-blowingly excellent example of a period of time that produced such treasures of the unknown! Benjamin Godard, relatively famous for a small amount of works, fits into this category with the majority of his compositions hidden from the limelight.

Chopin’ op. 66 no. 2 from Lanternes Magiques – Benjamin Godard

Aside from the many transcriptions of the Berceuse from the opera, Jocelyn, French composer Benjamin Godard (1849-1895) had an enormous output which remains, unfortunately, untouched. His life was a short one, dying from tuberculosis at 45, with many works (including large symphonies and no less than 8 operas) absent from the modern concert program. Although originally a violinist, Godard left a sizeable amount of piano music which includes Mazurkas, Waltzes, Etudes, and Character Pieces. None of the works are daringly virtuosic like other pianist/composers of the time; they are more comfortably placed beside the highly stylised piano music of Moritz Moszkowski. The piece we are looking at today comes from the collection of pieces divided into five books called Lanterne Magique (The Magic Lantern) Op. 50, 55, 66, 110, 115. Each opus number contains a handful of character pieces either based on dances from foreign lands, scherzi, nocturnes, programmatic pieces,or characterisations of composers. Incidentally, the most famous piece across all of the collections is the piece Chopin Op. 66 No. 2

The Polish style is alive and well in Godard's waltz!

The Polish style is alive and well in Godard’s waltz!

The piece is a perfect homage to the Polish composer Frederic Chopin. One only needs to look at the score to see direct rhythmic and harmonic quotes from a handful of Chopin’s waltzes, Mazurkas, the Nocturne Op. 32/1, and the Fantasie Impromptu Op. 66. It isn’t above a grade 7-8 AMEB standard, and thanks to John Thompson’s Modern Piano Method, gets some coverage with student pianists. Chromaticism abounds with a few twists and turns for the student:

A few little tricks and turns in these mysterious and nostalgic chromatic runs.

A few little twists and turns in these mysterious and nostalgic chromatic runs.

We have melodies which are interchangeable between left and right hands (reminiscent of a certain “Grande Valse Brilliant”) and an overall harmonic flavour that is very much in line with the style of the Polish master. The piece wouldn’t be complete without a sweeping, ascending run of chromatics and then an arpeggio cascade to finish:

A beautiful and unexpected turn of harmony reminiscent of the Nocturne Op. 32 No. 1

A beautiful and unexpected turn of harmony reminiscent of the Nocturne Op. 32 No. 1

A pastiche of Grand Valse Brillante and Impromptu all woven into a new and beautiful soundscape

A pastiche of ‘Chopinesque’ Valse and Impromptu all woven into a new soundscape

A delicious blend of Fantasie Impromptu and Nocturne with the previous left hand melody now in the right

A salon blend of Impromptu and Nocturne with the previous left hand melody now in the right

A sweeping

A sweeping “drawing room” finish!

I’ve been wanting to teach this piece as a “regular” with my advanced students for many years now. I thought about it the other day and immediately raced to grab it from the shelf for a play-thru. Here is the best recording I could find on YouTube: The score is readily available on IMSLP (links provided below) http://imslp.org/wiki/Lanterne_magique_III,_Op.66_(Godard,_Benjamin) Enjoy! Dan xo

Books and Resources: Purrfect Practice

Each year, I am invited to the lovely community of Camden, New South Wales, to perform in honour of my last piano teacher, Dr. Marilyn Meier. As well as a wonderful teacher, Marilyn was a great friend of mine who welcomed me into her family and who became my two-piano partner professionally. She believed in me above all and sang my praises constantly; she was critical and investigative and made me strive for bigger, better things. Even though she is no longer with us, the boost she gave to my career is something I’ll never forget as long as I live. However, this line of thought is a story for another time.

The Amazing Grace Academy of Performing Excellence (AGAPE) is directed by pianist and teacher, Heather Bieman. Heather is a lovely, accommodating woman who fosters a love music in her students and is a kind, caring, knowledgeable mentor to her teaching faculty. It is always a pleasure to attend AGAPE each year and work with students on some beautiful repertoire. I am also very fortunate to meet a number of piano teachers in the area who come along for a chat and who always have a barrage of questions for me. Last year, I conducted a masterclass and was terribly excited because I was hoping to finally meet Jackie Sharp. Jackie is a pianist, pedagogue, and professional teacher, whose YouTube videos and pedagogical research was inspiring a great many private instructors both nationally and internationally. At this point in time, Jackie had been developing her Purrfect Practice Technique Trainer 1 e-book and a lot of interest was generated within the Australian pedagogical community. I didn’t get to meet Jackie on this occasion and discuss her technique trainer, which is a shame, but I did acquire my own copy of the e-book version to use and review for this blog post – I am sure we will get to meet in the future.

I have reviewed many technique books as part of university work/literature studies and, at one stage, as part of a thesis which heavily critiqued certain evolutionary aspects of the etude in everyday piano practice. As with a lot of this research, I obtained books of etudes and finger exercises and spent my days playing through them to assess their value overall (technical and otherwise!). There were always supplementary writings, pictures, and anecdotes to accompany a lot of the studies I practiced which was great help from an analytical standpoint. Purrfect Practice Technique Trainer 1 combines a lot of these similar approaches into one handy reference guide for teacher and student alike. These are the two main areas which were huge deal makers for me:

TECHNOLOGY

If there is one area where Technique Trainer REALLY succeeds, it is with the videos that Jackie uses in conjunction with her book. Jackie, herself a fine pianist, provides links to YouTube videos at the top of each exercise in the book. Once the link is clicked, we are taken to a clip that isn’t just another grainy hand demonstration with no sound (as is common with a lot of example videos given by some shoddy “pedagogues” on YouTube), but we listen as Jackie talks us through the exercise slowly, then, in some cases, with more speed. Her camera angles are more than helpful as we can actually see important movements of the hand, wrist, and fingers, making the illustrations in her book more pertinent. More often than not, many videos have camera angles which are missing the important aspects of hand movement and coordination.

The combination of technology with piano teaching nowadays is, I feel, par for the course. Jackie has more than succeeded with this approach.

RE-INFORCEMENT AND PRE-CHECKLISTS

Technique Trainer 1 encourages students to think before they play, think while they are playing, and think after. Each exercise comes with a checklist of things to be aware of while you play as well as things to think about after you’ve played. Checklists contain markers that focus on areas like strong joints, up-down motions, rotation, etc. These checklists promote positive re-inforcement of technical work as the book progresses. Quite often, Jackie will revisit certain areas of the hand just to keep things in perspective – you don’t just do something once and think you’re a master!

I, and other teachers whom I have spoken with, have found that some students are making an effort to focus better on what they are doing to the point where they will actively engage in a discussion about it afterwards. For me, that’s just another selling point for books like this.

(Let me tell you, getting students to converse on aspects of technique/musicality after they’ve finished is, by far, not the easiest thing in the world)

The format of the exercises is clear and concise. The colours are minimal but bright and contrasting. The book is certainly not exhaustive when placed alongside the likes of Joseffy and Berringer, but then again I don’t think that is Jackie’s aim either. Whereas these two books assume that a fundamental knowledge of piano playing has already been achieved, Jackie takes us right back to a bare bones approach. It is an approach that facilitates gracious piano playing with ease RIGHT from the beginning stages. It is an approach that promotes less tension in the limbs/joints/muscles by fostering carefully considered movements and motions. Finally, it is an approach that promotes musicality – that is the most important aspect about this book.

I don’t believe that this resource should only be in the hands of the beginner – it should be in the hands of every teacher. Jackie’s work is not a regurgitation of bygone pedagogical principles, it is a fresh work that has been made easily accessible to teacher and student. It is very affordable and comes in a studio licensing format or a single copy. It has used the advent of technology in the studio to its advantage and it doesn’t sacrifice musicality EVER for the sake of a dry exercise.

Well done, Jackie! I cannot wait for the other volumes.

5 Stars

Please Visit: http://www.purrfectpractice.com.au