Taught by renowned pianist
Nicolas Namoradze
In this lesson, Georgian pianist Nicolas Namoradze shares his insights into Scriabin’s meltingly beautiful Etude in F-sharp Major, Op. 42 No. 4. Namoradze’s remarks on style, variety of touch, rubato, and crafting eloquent phrases will lead you into Scriabin’s expressive universe.<br><br>Namoradze begins the lesson by placing this etude in the context of Scriabin’s increasingly pathbreaking style and its position as a lyrical respite from the other Op. 42 etudes which seem to whirl incessantly. The gentler waves of this piece still need careful attention: as part of his discussion of phrase structure, Namoradze explores “micro-dynamics” — little waves within the broader sweep of a phrase. He uses this example to show how to craft a beautiful phrase, describing the subtle relationship that must exist between dynamics and rhythm in order to maintain the musical flow.<br><br>To capture the sensuality of Scriabin’s music, Namoradze shows you how to cultivate a truly singing, even “slimy,” legato touch, as well as a contrasting bell-like sonority. For legato, Namoradze’s tips include overholding, slight “smudginess,” getting to the notes in advance, and finally, both pressing and releasing very slowly. This is a very clear, step-by-step explanation of one of the most important (and yet elusive) topics in piano playing.<br><br>Finally, Namoradze discusses the nature of rubato and lets us in on a little secret: when playing Scriabin, if the context demands a special degree of anticipation or hesitation, the hands needn’t always be synchronized!
Etude in F-sharp Major, Op. 42 No. 4
In this lesson, Georgian pianist Nicolas Namoradze shares his insights into Scriabin’s meltingly beautiful Etude in F-sharp Major, Op. 42 No. 4. Namoradze’s remarks on style, variety of touch, rubato, and crafting eloquent phrases will lead you into Scriabin’s expressive universe.
Namoradze begins the lesson by placing this etude in the context of Scriabin’s increasingly pathbreaking style and its position as a lyrical respite from the other Op. 42 etudes which seem to whirl incessantly. The gentler waves of this piece still need careful attention: as part of his discussion of phrase structure, Namoradze explores “micro-dynamics” — little waves within the broader sweep of a phrase. He uses this example to show how to craft a beautiful phrase, describing the subtle relationship that must exist between dynamics and rhythm in order to maintain the musical flow.
To capture the sensuality of Scriabin’s music, Namoradze shows you how to cultivate a truly singing, even “slimy,” legato touch, as well as a contrasting bell-like sonority. For legato, Namoradze’s tips include overholding, slight “smudginess,” getting to the notes in advance, and finally, both pressing and releasing very slowly. This is a very clear, step-by-step explanation of one of the most important (and yet elusive) topics in piano playing.
Finally, Namoradze discusses the nature of rubato and lets us in on a little secret: when playing Scriabin, if the context demands a special degree of anticipation or hesitation, the hands needn’t always be synchronized!
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