Taught by renowned pianist
Leon Fleisher
A student of Arthur Schnabel, one of the great Schubert revivalists of the 20th-century, the late Leon Fleisher presents a master class on the exposition of Schubert's heavenly G Major Sonata, D. 894 with Rachel Naomi Kudo at the piano. Kudo's playing is so refined and elegant that Fleisher is at times at a loss for criticism, though he digs deeper and offers strategies to help Kudo achieve more of a lilt in the pervasive rocking rhythm, and encourages her to explore even more characters and colors in her voicing and phrasing.
Sonata D. 894 – 1st Mvt Exposition
Join legendary American pianist Leon Fleisher, as he gives a master class to tonebase Artist Rachel Naomi Kudo on the exposition of Brahms's monumental D Minor Concerto, a piece he describes as his "lifelong companion." After first encountering it at age 12, Fleisher went on to make what is widely considered the definitive recording of the work with George Szell and the Cleveland Orchestra in 1958 and performed it once again after regaining the use of his right hand in the 1990s.
Fleisher sees the appeal of the piece as lying in its "imperfections, its craggy awkwardness, its humanity,' and shows Kudo how to realize the flow and direction necessary to navigate the waters of this long "D Minor river." After helping Kudo shape the opening phrases of the exposition with subtle voicings and articulations, Fleisher takes a seat at the piano bench to try out the second theme with his own two hands, revealing its interlocking lines, accentuating high points of tension, and demonstrating how to achieve a sense of inevitability in the work's unfolding.
Concerto No. 1 – 1st Mvt Expostion
Join legendary American pianist Leon Fleisher as he gives a master class on the Second Piano Concerto of Brahms to tonebase Artist Rachel Naomi Kudo.
Fleisher already has ideas for Kudo before she performs for him, giving her pointers on fingering and phrasing the opening duet with the French Horn. One of Fleisher's core principles in this lesson is avoiding putting emphasis on beats, concentrating instead on feeling subdivided rhythms to shape over and around beats.
The second principle Fleisher impresses upon Kudo in this opening cadenza is related to the first – namely, respecting the laws of physics in music and applying them to phrasing. He shows Kudo how to create 'building blocks' to generate mounting suspense in a phrase, and how to achieve both richness and resistance in her sound – two crucial qualities in the music Brahms.
Fleisher, every detail-oriented, questions Kudo on her intentions and motivations in each bar and supplies compelling interpretive and technical advice on voicing, layering, finger shape, and more.
Concerto No. 2 – Opening Cadenza
Join legendary American pianist Leon Fleisher, as he gives a master class on the famous opening phrase of Beethoven's Fourth Concerto to tonebase Head of Piano, Benjamin Laude.
The first five bars revolutionized the piano concerto genre, as it marked the first time a concerto began with solo piano rather than an orchestral tutti. Though slow and technically simple, the phrase is notoriously difficult to interpret successfully.
Fleisher, who made one of the most celebrated recordings of the piece with George Szell and the Cleveland Orchestra, breaks down the phrasing, voicing, and articulation of the passage in granular detail. He gives special attention to the opening chord and the rising scale that closes the phrase, employing both metaphor and specific practical direction to help Laude achieve a sense of magic and wonder in his interpretation.
Concerto No. 4 – Opening Phrase
Join legendary American pianist Leon Fleisher, as he gives a master class on Beethoven's 'Pathetique' Sonata to tonebase Head of Piano, Benjamin Laude.
Fleisher listens attentively to Laude's performance of the first movement, choosing to focus on his conception of the Exposition. First, Fleisher and Laude discuss the character of the Grave section – stern, austere, and deeply tragic. To capture this mood, Fleisher urges Laude to obey the strict 32nd-note pulse subdividing each beat in shaping each sub-phrase. To achieve the most suspenseful playing, rhythms should be played 'as late as possible, without being too late.'
In both Grave and Allegro con bio sections, Fleisher asks Laude to play with flatter fingers, such that the keys become almost an extension of the fingers. Avoiding a direct, downward attack takes the edge off the sound, and allows for a more ringing sonority. Finally, Fleisher shows Laude how to mimic the feeling of centrifugal force in a winding right-hand run by employing subtle crescendos and diminuendos as the line rises and falls.
"Pathetique" Sonata – 1st Mvt Exposition
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Unlock Course →A pupil of Schnabel and dubbed by Pierre Monteux as 'the pianistic find of the century,' Leon Fleisher sustained an extraordinary career as conductor, soloist, recitalist, chamber music artist, and teacher.
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