Ferenc rados biography of alberta brown

He speaks very quietly, so in a big hall we all had to strain to hear. He focuses above all on how to make the underlying structure of the music clear. Today he said that even if a piece of music seems to be in a language we do not yet know, we can still sense whether the shape of a musical sentence is plausible — whether syllables are being articulated, whether there is movement through the sentence, whether there is space to breathe.

His determination to do justice to the music sometimes makes him ruthless towards the performers. Bolstering their self-esteem appears to play no part in the Hungarian method; on the contrary, it often feels as one of the participants said afterwards as if the intention is to make them realise how small they are, and what a long way there still is to go.

Some people rise wonderfully to the challenge ; others just clam up and turn away. My favourite moment today was when Rados spoke about the many different ways to play something quietly. Here, for example, it is a secret fortissimo! Very interesting post.

Madrid and Ferenc Rados in Budapest.

The statement about Hitchcock reminded me of the actor Montgomery Clift, whose characteristic feature was to turn his back to the camera at moments of great personal intensity and inner turmoil. It was as if by not showing his face he could reveal himself most deeply to us, an approach to acting that certainly took some courage. Your email address will not be published.

Save my name, email, and website in this browser for the next time I comment. Submit Comment. I spent the past couple of days popping in and out of the first round of the Concerto Class held each year by the Edinburgh Music In today's Guardian I was reading about the Japanese tradition of 'listening bars', where customers have 'a deep, beautiful,