Only Words to Play With...

2011-12-18T22:36:00.006-05:00

On January 19, 2012 I will make my debut at Carnegie Hall on the stage of the famed Stern Auditorium. The gala concert will be my tribute to VLADIMIR HOROWITZ and...I will perform on Horowitz’s own Steinway (CD 503) – the piano that traveled with him all over the world and that he played during his triumphant return to Moscow and Leningrad in 1986.

I am also thrilled and honored to share that the one and only DONALD TRUMP will be the Gala Chairman, and the legendary JULIE ANDREWS will the Special Guest Artist Host.

Finally, all proceeds from the concert will go to support the AMERICAN CANCER SOCIETY! So I invite you to join us for this very special night at Carnegie Hall!

Yours,
L.

Ask Lola: "What's required to be a virtuoso?"

2011-08-29T12:54:00.004-04:00

I receive daily emails from people around the world that often contain similar questions about piano playing, exercises, repertoire selection, music and art in general, etc. Occasionally, they contain criticism, and if it has more substance than the pointless “you shouldn’t do/wear/play/breathe/say/think…because I don’t like it!” then I try to reply to those as well. So I thought it might be fun to post some of those emails and comments (without any editing, but protecting the identity of the inquirers, of course) and my respective answers here in my blog. Oh, and those whose questions I choose to post here will get my recording of Liszt’s La Campanella as a gift. So here’s one recent exchange:

Email inquiry:

“I thought that you would be a good person to ask because you are an actual piano virtuoso. What exercises are required to be a virtuoso and can you please be specific? I am already fairly advanced. I practice all of the following exercises daily: 5 finger patterns, 3 note cadences, Scales, Chromatic scales, Blocked and broken triads, Octaves(going through scales), 4 note chords, blocked, broken, and alternating, arpeggios(triplets), Octaves(going through arpeggios), Seventh chords, blocked and broken, Seventh Chord arpeggios, Double thirds, double sixths. I do all of these exercises in all keys and all inversions, except for double sixths (which is soon to be in all keys). I can't play everything super fast yet but I can play everything at least at a moderate speed. Now is this enough for virtuosity after it is completely mastered or is there something else I need to add into my warm ups? Thank you for taking the time to read this and I hope you give me a genuine response.”

My reply:

“I'm guessing you're a fairly young musician so I think a lot of these questions will become clearer as you mature. In my mind, virtuosity goes beyond speed or technique. It's a complete mastery of the instrument, which evolves out of many elements working in combination over time. And everyone arrives there in his or her own way, but a guidance of experienced piano professors might be helpful. How do you know if you achieved it? Well...when you can play Rachmaninoff's 3^rd concerto at Rachmaninoff's own tempo and accuracy - I would call you a virtuoso.

My best,
L.”

We will, we will Rach you!

2011-06-16T19:57:00.005-04:00

Come see the show at Le Poisson Rouge on July 5th!

Let it snow - 2011

2011-02-04T00:38:00.014-05:00

A few pics from Central Park:

XO,
L.

FAQ 1.0

2011-01-26T21:33:00.025-05:00

I'm often asked some version of the following questions, so I thought a quick FAQ entry is in order:

Q: Are you left-handed?
A: Yes.

Q: When did you start playing?
A: When I turned six.

Q: Who are your favorite composers?
A: That changes all the time, but Rachmaninoff is always among them.

Q: Do you always play Steinway pianos?
A: Yes.

Q: Do you always play in heels?
A: Yes. I don’t own flats.

Q: Do you give lessons?
A: No. (No patience + bad temper)

Q: Are Hanon exercises helpful?
A: Don’t know, never used them.

Q: Is sheet music for your compositions available?
A: Yes. HERE.

Q: I don’t hear the song in your arrangement?
A: Good, you have a lot of music discoveries still ahead then.

Q: Are you sure you are human?
A: Yes, relatively certain.

I always enjoy your comments and questions so I'll be doing these FAQ entries periodically.

X

Top 20 Most Significant Melodies of All Time

2010-10-31T13:41:00.018-04:00

The other day someone asked me if I could name 20 classical melodies that I believe are “the most significant” in the history of mankind: melodies that captured the human experience in the most powerful and inimitable way…compositions that everyone must hear at least once before they die.

Putting together such list wasn’t as easy as one might think because countless tremendously talented compositions have been written throughout history. Still, in my mind some simply tower above the rest in their brilliance and impact. Interestingly enough, these are not necessarily my most favorite pieces as a musician, but if I had to pick only 20 melodies that an alien should listen to in order to feel what it means to be a human – I’d name the following (the links are strictly for illustration. I do not necessarily think that these are the best performances/recordings of these compositions):

20. Rachmaninoff’s Second Concerto, 3rd movement, 2nd theme – OK, since this is my personal list, Rachmaninoff simply had to be here;

19. Bizet’s “Carmen”, Habanera – When I think of why we go crazy for one person while the other leaves us completely cold, the answer seems complicated. Yet, when I listen to this aria, everything becomes clear and simple;

18. Verdi’s “La Traviata”, Amami Alfredo (the ending) – In those few measures Verdi captured the essence and the drama of the entire opera. Plus, had it not been for this part Vivian and Edward in Pretty Woman would have never ended up together;

17. Khachaturian’s “Sabre Dance” – Parental discretion is strongly advised: this is a musical orgy after all;

16. Prokofiev’s “Romeo and Juliet”, Montecchi e Capuleti – The notions of enmity and unresolvable conflict pale in comparison to this dance. This is the one music piece that is worth a thousand words;

15. Saint- Saëns’ “The Carnival of the Animals”, the Swan – When I hear this melody played right, it makes me want to be a cello. This piece is the definition of the musical term "espressivo";

14. Rossini’s William Tell Overture – Though not my personal favorite, it just had to be here;

13. Tchaikovsky’s “Swan Lake”, main leitmotif – Tchaikovsky’s multiple genius creations presented a very difficult choice. I could have easily added to this list the entire Nutcracker and Sleeping Beauty, at least two symphonies and a piano concerto. In the end, I chose this theme because to me it illustrates how music can create an almost palpable world of mystery, magic and drama;

12. Vivaldi’s “The Four Seasons”, Winter, 1st movement – I was tempted to add an entire cycle, but picked this movement because to me it is the most brilliant representation of the entire baroque music tradition;

11. Bach’s Orchestral Suite No.2 BWV1067, 07 Badinerie – Or, perhaps, this is the most brilliant one? Oh, I couldn't decide and had to pick them both;

10. Ravel’s Bolero – Simply put, Bolero = hypnosis and Ravel = a musical painter who, through his unmatched knowledge of orchestration, managed to extract from an orchestra the most unique colors and textures and “paint” one grandiose masterpiece (I think the best recording of Bolero is by Seiji Ozawa conducting the Boston Symphony Orchestra);

9. Beethoven’s “Moonlight” sonata, 1st movement – Even if you do absolutely nothing else with your life, but listen to this movement - I’d say you weren’t born in vain;

8. Bach’s Toccata and Fugue in D-minor – When I think “larger than life” I hear this melody;

7. Wagner’s “The Valkyrie”, Ride of the Valkyries – If you are Wagner you don't need to actually experience flying to communicate it in such an ingenious way. All you need is the power of your imagination...

6. Beethoven’s Symphony No. 5, the fate motif – I’d call this four-note motif a musical equivalent of Shakespeare's "to be or not to be";

5. Handel’s “Messiah”, Hallelujah chorus – The way in which this chorus captures the joy, vigor, and triumph of a human spirit is unparalleled;

4. Schubert’s “Ave Maria” – The first word that leaps to mind whenever I hear this melody is “pure”. Although I don't perceive it in a religious sense (to me religion is primarily a documentation of human history) this music is, certainly, capable of elevating one to heavenly emotional heights;

3. Chopin’s Sonata No. 2, “Funeral March” – We do not know what happens after we die, but whatever lies beyond (if anything) is surely not of this world. Perhaps, that is the most accurate way to describe this march, which has become synonymous with the word “death” and the final journey;

2. Mendelssohn’s “A Midsummer Night's Dream”, the Wedding March – This music is played every hour of every day in every corner of the world. In its grandeur and depth Mendelssohn’s March eclipsed even the act of marriage itself;

and the winner is (ta-da)…

1. Mozart’s Symphony No. 40, the first theme – They say perfection is unattainable, but Mozart clearly proved them wrong. When I hear this theme, I know I'm experiencing perfection. Period.

That’s my opinion today…

Take 5

2010-10-25T23:10:00.019-04:00

People often ask me how I select my repertoire, and why I choose certain compositions over others. The answer is simple - I only play pieces to which I feel an intense emotional connection. That is exactly how I felt when I heard Rachmaninoff’s Musical Moment No. 5 for the first time. I would even call it a kind of musical chemistry. Although a quintessential Rachmaninoff piece in terms of harmony, character-wise this composition is filled with calmness and serenity, which is quite opposite from Rachmaninoff’s usual tumultuous and restless music. I found that very appealing, and I knew exactly how I wanted to play every single note and what kind of emotions I wanted to convey.

To me this musical moment represents finding inner peace and quiet after years of fighting, struggling, making mistakes, having regrets, celebrating victories and mourning losses. I find it to be a great metaphor for life itself. The piece is written in D flat major, but as is often the case with Rachmaninoff, his major sonorities sound achingly nostalgic. I would call it a musical equivalent of an old black and white family photo that you stumble upon in the attic decades after it was taken: you remember the moment and the faces, you can almost recall the joys of those days…and yet you are painfully aware that there is simply no going back.

Feeling a strong connection to this music, I began researching previous recordings of it (something I always do when preparing a new composition), and was surprised to find that most pianists play it nearly twice as fast as the metronome indication suggests. I must say I respectfully disagree with them. In my view, the faster tempo alters the character of this piece and not for the best. It is common knowledge that in slow works it is technically much easier to "connect" the phrases in faster tempo. While it is never a good idea, in this particular case it seems especially criminal as faster tempo destroys the essence of the music, disrupts its calm and soothing flow, and most importantly brings its emotional impact from divine heights to zero.

I believe that choosing the right tempo can make or break an interpretation or character of any piece of music. It is especially true with Rachmaninoff whose music consists of thickly textured endless melodic lines, syncopated rhythms, and fluctuating climaxes, all of which can be lost or sound disastrously in the wrong tempo. Now, those of you who are familiar with my views on music interpretation (in short: play the way YOU feel) know that I am not the type to blindly follow to the score for the sake of being academically accurate. But I do insist on being familiar with composer's suggestions as they frequently give great insight into his or her intentions and thoughts. Luckily, Rachmaninoff is quite generous with his markings of tempo, dynamics, etc.

Before "Midnight Dream" release

2010-08-04T22:08:00.008-04:00

My new music video, directed by Peter Scheer, is actually a short film featuring my performance of Rachmaninoff’s prelude Op. 3, No. 2. This is not a Hollywood project, but rather a deeply personal story with layers of meaning that, I hope, insightful viewers will catch and appreciate. And if you simply walk away with questions – that’s fine with me too. Finally, this film is dedicated to the memory of my friend and inspiration Alexei Sultanov.

After several private screening events, this film will be released online this fall. For now, here is a trailer and some photographs from the shoot. It was filmed at Steinway factory in Long Island City, New York in June of this year.

Behind the scenes of "Midnight Dream" video

2010-08-04T21:32:00.014-04:00

Watch trailer...

See it with your own eyes

2010-05-05T21:35:00.010-04:00

Thanks to everybody who supported MeiMei's mission to Haiti. The videos she brought back in some ways speak more than news reports ever could. Well, see for yourself...

Your Help For Haiti Earthquake Victims Can Be Direct

2010-03-05T00:24:00.010-05:00

One thing that has always made me slightly uneasy about huge fundraising efforts is how impersonal and almost “industrial” the process seems. The funds go into an enormous pool and, hopefully, benefit those in need with as few side expenses as possible. But then you rarely find out how your specific contribution made a difference, and almost never hear the stories of those whose lives you might have saved. Unfortunately, that impersonal element is almost unavoidable when you deal with mega disasters like the recent earthquake in Haiti, but this time, your help can be direct and you can learn the stories of the people that you help due to the efforts of a good friend named MeiMei Fox. Here is MeiMei in her own words:

"What I’ll be Doing in Haiti

Last year, I edited the memoir of a remarkable woman: Alison Thompson. Alison was approached to author a book after her film, “The Third Wave“, met with multiple standing ovations at the Tribeca Film Festival in 2007 and Cannes Film Festival in 2008. The documentary chronicles Alison’s extraordinary experience volunteering in Sri Lanka for 14 months after the 2004 Asian tsunami. She and a team of three other dedicated, generous individuals rebuilt the village of Peraliya, enlisting dozens of volunteers to come join them in running a medical clinic that later became a full-blown hospital, reconstructing the school, providing hundreds of shelters, and establishing the first ever community tsunami warning system.

Alison flew to Haiti just days after the January 12 earthquake with director/actor Sean Penn, who produced “The Third Wave.” They have been volunteering there ever since. I will join them for eight days at the end of this month.

I feel called to serve. Although I have no medical or construction skills, I do speak French, and I am confident that I’ll be able to help Alison and Sean in their efforts.

What You Can Do to Help

I’m raising money to bring with me much-needed supplies such as water filters and medications. You can donate any amount! It’s very simple:
1) Go to www.paypal.com
2) Click “Send Money”
3) In the “Send to” box, enter my email address: meimeifox at gmail dot com
4) Continue filling out the form with your credit card info.

I will blog daily (although I’m not sure if I’ll be able to post while there, depending on internet connection), tweet constantly, take pictures, and report back to you in full upon my return. If you send $100 or more, I will do my best to bring back a personal thank you note for you from someone on the ground in Haiti."

I think it is a rare opportunity to give direct and personal help so I hope you will be generous! (In case you’re wondering - yes, I will be donating funds to support MeiMei’s relief mission.)

Playing for Haiti

2010-02-14T01:46:00.009-05:00

On January 12, 2010 a nation of Haiti was rocked by a powerful earthquake. As I am writing this blog entry, the death toll appears to have reached 230,000. And literally millions of lives have been directly affected by this catastrophe. It is, without a doubt, one the most devastating tragedies in modern history, and when I read the news from that region I am literally chilled to the core. So today, I would like to extend an invitation to all of you for a special performance in support of Haiti:

When:

March 9, 2010 @ 6:30 PM

Where:

Steinway Hall,

109 West 57^th Street,

Manhattan, New York

Several musicians will participate in the show, and I will close the evening with a performance of my own arrangements of popular tunes. There is no cost to attend, but we do hope that you will donate whatever you can to support the Haiti relief efforts.

So please come, enjoy the music and let’s do something worthwhile together.

A-S-T-A-N-O-V-A: the common spelling

2009-12-25T19:45:00.012-05:00

Ahhh, thank god for Google for life would be a lot less fun without it. I happened to see a list of common misspellings that people made this year while trying to google my name and some were just hilarious. So I thought that you may also get a kick out of those:

Astonovoa
Astanovao
Astranova
Astonavo
Astonov
Asatanova
Astenova
Astanove
Astanva
Astonva
Astanoa
Astaanova
Astanpva
Ashtanova
Ashanova
Astamona
Astanoca
Altanova
Ascanova
Astan
Astonoava
Astraqnova
Astano
Astonova
Astonava
Astanonova
Astinova
Asanova
Aslanova
Astnova
Astanovia
Atsanova
Atanova
Antanova
Anstanova
Anstonva
Estonova
Estanova
Estinova
Estenova
Estanovia
Ostinova
Ostanova
Satanova
Stanova
Stonova

Years ago there was an Oscar-winning Soviet movie called “Moscow Does Not Believe in Tears”. In one of its episodes, while trying to locate the hero of the film one of the sub characters asks, “Does Georgy Ivanovich, aka Goga, aka Gosha, aka Yura, aka Zhora live here?” As I went through the list that episode re-played in my mind together with a grateful thought that my name will never be as fun to spell as, say, Gurbanguly Myalikgulyyevich Berdymukhamedov.

I "Jingle..." my way

2009-12-16T20:10:00.003-05:00

OK, that was a near classic impromptu: no preparation and two and a half evenings at the piano later I had my version of “Jingle Bells” ready.

It’s funny, but one can get away with a performance of one’s own music with exactly zero hours of practice time. I only ran through a couple of transition points and had to remember which turns to take and when because the piece is still so raw in my head. I don’t know why, but I just can’t bring myself to practice my own stuff :)

Merry Christmas! L.

On Art & the economy

2009-09-22T23:11:00.004-04:00

“…into the little zeros with which the champions of the common good and the rulers of the masses tend to operate, art introduces a "period, period, comma, and a minus", transforming each zero into a tiny human, albeit not always pretty, face.”

Joseph Brodsky

Poet, Nobel Laureate

At times of economic or social challenges, it is easy to lose sight of the significance of art. Stressed by economic concerns, many begin to view art-related causes as “irrelevant” or “useless”. As a result, we risk losing many wonderful art initiatives and organizations that enrich our lives and improve our taste beyond measure.

So in this video I simply wanted to remind ourselves of the significance of art and to encourage everybody to pick a favorite art cause and get involved to whatever extent your time and resources allow. At the very least, this season - go to a concert, a theater performance, an exhibit or a festival that otherwise you may have ignored. You’ll be glad you did… :)

Behind the "Music"

2009-08-30T00:43:00.013-04:00

Creating fun virtuoso arrangements of popular tunes is a cute little pastime that used to be enjoyed by some of my personal piano heroes. Following in their footsteps, earlier this year I recorded my version of Rihanna’s song “Don’t Stop the Music”. After posting it online, I received endless requests to do another one, so having a few relaxing weeks this summer I decided to do it once more and with the help from my fellow YouTubers picked Madonna’s “Music” for this piano makeover. Though it was fun, it is not something that I intend to do again (unless for a truly compelling reason). But I do want to share a few little thoughts behind the “Music”, and answer those of you who wanted to know more about these arrangements.

Having been both surprised and amused by the comment “this does not sound like the original” that some people posted to my “Don’t Stop The Music” video, this time I decided to give a fair upfront warning: my arrangement is NOT supposed to be the exact repetition of the original song! For my taste, playing a pop song such as “Music” note for note would be among the most boring, unoriginal and unpleasant things to hear, and I would never waste your attention or my time on such tediousness. With that said, my arrangement is, in fact, very closely linked with the original (though, I’ll admit that connecting all the dots may require some musical prowess).

So here are a few trivia points about my “Music”:

I think it can be called a distorted baroque/classical arrangement. I took certain elements reminiscent of baroque piano sonatas and purposely distorted them to highlight the fact that this piece is a sort of musical joke and not a serious composition. (On that note, I have to mention that while I personally think that baroque/classical genre is supremely divine, today it can exist only through the works of superb masters of that era or within the context of historical and educational projects. Whoever claims to compose serious music in that style today is, in my view, choosing to always be musically inferior to the great masters of the past and musically irrelevant for the audience of the present.)

My arrangement ends in G-major, which is a parallel major of the original song’s G-minor key. This was my little tribute to the great composers of the past (Bach immediately comes to mind) who often started compositions in the minor key and ended them in the parallel major.

Pop music and classical music are two polar opposites in the sense that while the richness and variety of electronic sounds allow pop compositions to easily dwell on the same motif over and over again, in classical - it’s all about developing and growing your musical idea. Additionally, the sound of a single instrument (like the piano) is very “thin” comparing to the multitude of electronic sounds in a pop song. For these reasons, taking a bare pop theme and playing it on the piano unchanged would be utterly ridiculous. As the original song offered little melodic material, I had to sneak in new motifs (that were still derived from the original) in order to give my “Music” some shape and texture.

So that’s your quick “behind the music” tour, and now you can watch it again with completely new eyes ! ;)

YouTube Has Spoken

2009-08-23T23:06:00.003-04:00

The results are in and with nearly 70% of the votes the winner is – “Music” by Madonna. (YouTube’s second choice was Green Day’s “Holiday”, and Kanye’s “Homecoming” came in third.) Thanks to everybody who voted and passionately argued for their favorites. Subscribe and expect the musical conclusion shortly…

In YouTube We Trust

2009-07-18T19:38:00.004-04:00

When I posted my take on Rihanna’s song “Don’t Stop The Music”, it was intended to be nothing more than a fun little piano piece. I thought that it would entertain my fellow youtubers and maybe shake a few dusty stereotypes along the way. Despite mostly generous and often hilarious comments to the video (for which I’m grateful), I never intended to redo any other famous songs. Yet, since the video was posted, I received hundreds of messages (often quite passionate) asking me to do another song, offering song suggestions and arguing why those suggestions are the best. Given such interest, I finally decided to do it, but on one condition: YOU have to help me pick the song!

In this video, I outlined a simple and (I think) democratic approach for selecting the winner. The “voting booth” is now open on my site, and I place this decision entirely in your hands. I am, of course aware that in the land of Nora the Cat we have little chance of stirring up millions, but I thought this could still be a fun little affair for YouTube’s many music lovers. :)
So listen to the originals – make up your mind – then VOTE!!!

L.

p.s. I must add this note about Michael Jackson and to kindly ask all of you NOT to suggest any of his songs for this project. Contrary to what you might think, I do like his music and, like most people, I was shocked and saddened by the news of his passing. He was a phenomenon and it felt like an entire epoch in entertainment had ended along with his life. Although he was far removed from anything that could be described as “normal”, he remained the figure of personal significance for millions of regular people around the world. Perhaps, we didn’t even know how strong that connection was until the moment he left.

Grief, much like love, is a very personal feeling. So while I understand the heartfelt requests to create a musical “tribute to Michael”, I simply would not feel right doing that. Additionally, the common feeding frenzy surrounding his name puts even the most genuine tribute in danger of appearing tacky and disingenuous. So let’s remember him in silence…and then enjoy his own records and the personal memories connected with them that most of us seem to have.

My Rachmaninoff: Sonata No. 2

2009-07-06T19:28:00.008-04:00

Out of all his piano works, I find Rachmaninoff’s second sonata among the least pianistic. Many passages are juxtaposed in an unnatural and often counterintuitive way. Additionally, there are structural challenges that are in stark contrast to his other works such as the second concerto, which I believe to be the most organic and coherent. It is a known fact that Rachmaninoff himself was not quite happy with this sonata and kept revising it to thin out the textures and give its three movements a more defined shape. He believed that every piece of music must have a definitive culmination point (climax) and everything else should be structured around it to amplify its effect. So unless the shape of the piece is clear and a pianist has a full understanding of its structure and how it should progress, the details carry little importance.

After carefully listening to Rachmaninoff’s original and revised versions of the first movement, I put together my own version that combined the two. Although there was plenty of material in the original version that was simply too beautiful to leave out, I forced myself to do that as some of its elements were interfering with the structure of the movement. I felt a bit like a painter who has a palette of rich and vibrant colors, but cannot use all of them because the canvas is just too small. Another important part in carrying out a more defined structure required special attention to be given to his markings of “a tempo”. The temptation to indulge in rubatos and caress each modulation is tremendous, but unless the bigger picture is kept in mind, detailing can get to the point where it becomes an annoyance.

For my taste, the second movement is one of the most beautiful pieces of music ever written. Liszt once called the second movement of Beethoven’s Moonlight Sonata “a flower between two abysses”, which, I think, fully applies here. This reference came to mind because of the great emotional and technical contrast that Rachmaninoff’s second movement provides in comparison to the first and the third. I would describe its mood as sensually contemplative, intimate, dreamy and otherworldly. And Rachmaninoff manages to give this movement depth and multiple dimensions by layering various harmonic combinations. (What especially strikes me is how his major sonorities are filled with tragic overtones and somber premonitions. Rachmaninoff is the only composer I know whose major does not last or settle…rather, it remains fleeting and elusive.)

The third movement, in my view, presents its own unique challenge as one must try to avoid sounding overly percussive and abrasive - the sound that the piece can easily lend itself to. At the same time, this movement must remain fiery and feisty, and must be played with gusto. Finding that balance is not easy so using alternating methods of producing the sound and paying careful attention to voicing becomes critical. On top of that, throughout the movement one must try to keep the increasing inner tension of the piece in check in order to make the ending (approximately the last four pages) sound truly grandiose and in the fashion of Rachmaninoff’s piano concerti. Not a small task, given that the temptation to release this tension starts to build from the very first note, but succumbing to it could break up the piece into harsh and loud chunks of unrelated notes.

Finally, this sonata always challenges performers technically. Pianists are faced with every imaginable kind of uncomfortable combination such as fortissimo chords and octaves immediately followed by intricate passages consisting of small notes and syncopations that require sudden change in dynamics and tempo as well as in hand positioning. And it seems that no amount of practice can guarantee that these challenges can be met securely and every time. My recommendation here is simple: when confronted with situations like that, try to maintain the highest degree of concentration during those uncomfortable transitions…just don’t let that concentration turn the performance into a robotic and cold execution.

Summer in NYC

2009-06-29T18:40:00.002-04:00

My Rachmaninoff: A Collection of Thoughts - 1

2009-06-22T23:34:00.006-04:00

Rachmaninoff’s compositional style is synonymous with thick textures and complex melodic lines that travel effortlessly through the registers. So special attention to voicing is required as it can alter the melodic progression, which subsequently influences the emotional effect. For example, if the 5th step is emphasized in a tonic chord, it creates an impression of unfinished thought that yearns for continuation. Conversely, bringing out the 1st step of the same chord will result in a more stable ending and the feeling of closure. What fascinates me most in Rachmaninoff’s music is the fact that these possibilities are limitless, and the interpreter has to make these decisions based on his or her taste and overall understanding of the piece. With that said, being familiar with Rachmaninoff’s own markings in the score (which are often quite detailed) can be tremendously helpful. I remember listening to one of his own recordings while following the score and noticing that his interpretation was written out almost entirely, down to the very last rubato. So while I do not think that a performer must follow such markings religiously, without leaving any room for individual input, I do believe that it is necessary to be familiar with the composer’s intent for his music. It is especially important in Rachmaninoff’s case as he not only was, possibly, the greatest pianist in history, but his overall musical knowledge and taste were impeccable. His own recordings are true gems of the piano legacy, but, sadly, very few people listen to them these days.

It seems that pianists often forget that Rachmaninoff was, indeed, the last great romantic composer, who was largely influenced by Chopin and Liszt. Therefore, his pianistic approach is romantic in nature, and the heavy texture inherent to his compositional style must be made light and translucent by the performer while preserving the music’s ever-present passion and tumultuousness. All too often I hear his works (for instance 3rd concerto) performed in a very laborious and grueling way as if pulling a heavy load, which is a complete opposite of how it should be (and his own recordings prove it). Occasionally, such “weighty” interpretations are a choice, but more often, I believe, the reason is much simpler: playing Rachmaninoff “lightly” requires a greater control of the instrument and a high level of finesse.

"You play like a GIRL!"

2009-05-10T23:19:00.014-04:00

…those are the most dreadful words I know since the age of 6 when I had my first piano lesson with my first teacher, Tamara Popovich, who never hesitated to use them when I failed to give it my all. Fiercely independent and always elegant Grand Dame, Mrs. Popovich was a poster woman for iron will and unyielding commitment. Undoubtedly, she has played a huge role in shaping me as a person as well as musician.

Age meant little in her studio and she made it blatantly clear that she would not cut any slack simply because you are 6 and have to put a couple of huge books under your feet in order to reach the pedals (true story…lol). And she always considered girls to be a second rate "material", saying that female pianists typically give insipid, uninspiring performances that lack energy, authority, resolve and excitement.

Each lesson required artistry and intensity akin to being on stage and giving, what I imagined, could be the very last performance of your life: you simply had to give it your all. Today, many years later, I still follow that habit every time I sit at the piano…and if there is one advice I could ever give it is: "Whatever you do, please, don’t ever play like a GIRL!"

Scriabin Thrills

2009-05-04T00:33:00.006-04:00

Scriabin’s etude Op. 8, No. 12 that I recently posted on my channel is one of the most played and most recognizable pieces for solo piano. And, obviously, one of my all time favorites as well. I’m always amazed at how something that lasts just over two minutes can include so much! The beginning and the ending are filled with raw, passionate, erotic splashes of emotion, impossible to tame or control. It's a human spirit on the very edge and about to break in half. The middle part gets softer and somewhat detached from reality like a fantasy that never came to be. But despite the two seemingly different moods, a powerful inner tension remains the defining characteristic of this etude.

As with any ingenious romantic music, this piece opens some delicious possibilities for interpretations. During the rehearsal I played it in a certain way that reflected my mood at that moment. And it is very possible that another time I may take it in a different direction. Though one thing will always remain unchanged: with the final note, I will feel as if I am completely drained, empty, and without a single drop of strength left – both emotionally exhausted and dazzled!

Q&A Matters

2009-04-13T22:25:00.004-04:00

Hi everybody! I received many questions about my warm up and exercise routines. I appreciate the interest and will start answering them in a series of videos very soon. Subscribe and Stay tuned!

P.S. Thanks for all the compliments and comments :)

Keeping the score...

2009-03-30T21:29:00.003-04:00

Several people have asked me for the score of my version of “Don’t Stop The Music”. At this point, the score looks like this (see photo!) :)))

But I promise to prepare a legible copy soon, and post it here or on my web site. Thanks for all your messages and keep watching my channel - more videos coming soon...

Yours,
L.

Don't Stop The Music

2009-03-26T16:18:00.009-04:00

Several months ago, while dancing to Rihanna’s Don’t Stop The Music in the club, I thought that it would be fun to turn it into a virtuoso piano piece. So a couple of nights at the keyboard later, I came up with my version of it. I haven’t done anything like that before, and it was a bit of a challenge to capture the original rhythmic pattern on the piano. But I gave it a good try ;)

This week as I launched my YouTube channel, I dug up my notes on this piece and decided to make it my channel’s first video for two reasons:

First – it is my little gift for Rihanna, who has been going through a very public ordeal recently. I hope it will put a smile on her face. Second - I have chosen this piece to emphasize that musical art is not about dogmas and boundaries…quite the opposite. It is only alive when it is free of prejudice and free to experiment. Classical musicians often forget that, so this video is my personal plea to my colleagues: “Don’t Stop The Music!” :)

New Website!

2009-03-26T16:03:00.005-04:00

Hey everyone!

I am back to life after a winter hiatus haha…and I am excited about my newly redesigned website, which now has music, gallery, videos and much much more. Yey! So check it out and let me know what you think!

Yours,

Aussie Open Final...

2009-02-01T17:10:00.001-05:00

Ok...I am obviously way too disappointed to comment on this. All I can say is that it is tough to play against your own demons. In my view when it comes to Nadal there is some sort of a mental barrier that Roger can't overcome yet. Hope he finds the way...

L.

Bravo Maestro!

2009-01-25T16:07:00.001-05:00

Hi everyone!

It’s been a busy few months and I am sorry I haven’t been posting. I hope everyone’s year has started off on a good note and all is well. Today, however, I am writing on a subject that is completely unrelated to music or arts.

I suspect few people know I am a sports nut:)! To be precise my two favorite sports are soccer and tennis. I just wanted to share my impression of the tennis match I was watching all of last night (until 3am or so..) between Roger Federer and Tomas Berdych.

First of all, I am a huge Federer fan! Thus, last night, once again I witnessed the uncompromising level of professionalism, consistency and strength of character from this phenomenal athlete. Being two sets down (it’s a pretty big deal) he managed to turn things around and find the way to win the match in five sets! Now, having watched Roger closely for quite a few years, I know that rarely does he play five-setters. Usually, that’s because he is very rarely pushed to the limit, but in last night’s match he was looking uncomfortable in the first two sets. But once he got the break at the end of the third, I knew that was it! That was all he needed (easy for me to say haha).

With that said I must admit that Berdych is a top 20 player, who is very strong and clearly last night was very determined to win as, I suppose, is anyone, who steps on a tennis court against Roger Federer. In short what amazes me most about Federer is his ability to pull it together in the crucial moments, when it really counts, while being focused and precise for the entire duration of the match. I see so many good players who are shining at the start of the game, but towards the end their wheels completely fall off. I guess that’s the difference between good and great…

Go Roger, hope you win the Aussie Open this year!

Yours,

Halloween Party...

2008-11-02T23:35:00.002-05:00

Almost Halloween!

2008-10-23T02:03:00.002-04:00

Hi everyone,

I can’t believe we are already in the middle of autumn… While it is my second most favorite time of the year, I do have mixed feelings about it. On the positive side it is the time when I feel most creative and productive because of the frequent rains and gray skies, which I adore and never seem to get enough of, no matter WHERE I go! Also, I love the cinnamon filled air, the aroma of burning tree leaves and those late October evenings that, depending on your company, can be either incredibly beautiful and uplifting or lonely and nostalgic...

Anyhow, I am super excited because Halloween is just around the corner! It is my most favorite day of the year and I take it super seriously! I already made up my mind regarding the costume and makeup, so if you want to see it you just have to check back because I will post lots of pictures! One thing I can say is that I am not in favor of cliche outfits like angel or devil or french maid. I know those are popular, but unless you are putting your own spin on it chances are it will be boring. I really don't understand people who don't even bother to do anything different at least one day during entire year. While I believe you can do whatever it is you want on any given day and there is no "official" time or date to get crazy or be a completely different person for a day, it is more fun when everybody gets to participate. Oh by the way this year I will definitely spend time and put together some spooky treats like cocktails and cookies. I hope to catch some of my favorite shows on foodnetwork to get some inspiration, they always have great ideas:))!

Talk to you soon,

Lola.

Playing the "Notes of Hope"...

2008-10-03T00:06:00.004-04:00

On September 9th 2008 I took part in a very special event in New York. It was the launch of the first annual "Notes of Hope" benefit for the National September 11 Memorial & Museum. Mayor Bloomberg hosted the event, which was a touching evening of remembrance and hope. Founders of the TriBeCa Film Festival Robert De Niro, Craig Hatkoff and Jane Rosenthal were honored for their efforts in rebuilding New York's Down Town area after 9/11. John Mellencamp closed out the evening with 3 songs performed on an acoustic guitar.

For me it was an emotional day on many levels. I was honored to open the evening & perform the Star-Spangled Banner on Vladimir Horowitz's own Steinway. It is a legendary instrument (and also happens to be one of the best sounding pianos I have ever laid my fingers on) so while on stage I thought of all the places around the world that it had traveled to with the Maestro. Although I never got to hear Horowitz play this piano live, I was very moved to perform on his Steinway on such an occasion, and for a moment it almost seemed as if I met him.

After my performance, I had a chance to listen to some amazing personal stories shared by Mayor Michael Bloomberg, Denis Leary, Billy Crystal and the honorees of the evening. Needless to say, these people have tremendous professional achievements in their respective fields, but what impressed me most was their care for causes and ideas outside pure self-interest. I find that especially important because throughout my life I have learned that great professional achievements do not necessarily equate to great human qualities. In fact, it is extremely rare to see those combined in one person. So I am always touched and encouraged when I encounter people who while enjoying tremendous public adulation manage to remain compassionate, humble and kind-hearted individuals.

Yours,
Lola.

Ready, Set, Blog!

2008-10-02T01:07:00.001-04:00

Hello Everyone and welcome to my blog!

I can't tell you how excited I am to start blogging and sharing what's on my mind with all of you!
I promise to do my best to post often and keep this page current and relevant. The main rule of my blog is simple: to speak truthfully. The topics and frequency of the entries will mostly depend on my schedule, and the events in my life. But they will also depend on your participation so don't be afraid to share your thoughts and ideas with me. I will always address your most interesting questions and comments. Topics for my future entries may also come from your suggestions - so come out and play!