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Learning a big piece way above my head is very draining. The notes, the techniques and the fingerings, the pedals, the voices, hands coordination, even double notes, solving problems after problems, and so on.

I'm constantly trying to learn another page of notes, and then another, then go back 3 pages in case I've forgotten them but then I really need to learn one more page... It is so difficult I tend to forget what it's all about.

Is that all there is? Benjamin Zander said there's more. This video reminded me to feel and enjoy. I hope you'll find this video inspiring too.

Never has so much work gone into so little reward. It is hard work; you kinda get there, and move on to other stuff.
And when you are wont to recall such indulgences, you have to . . .like, start again! Almost from scratch. Because you concentration is never as good second time around since it's not new!

Hi Stubbie
Thanks so much for sharing, this is been a discussion I have frequently had with my piano teacher: how do I communicate the music with the audience? When I can do that, and not just play the notes and the rhythm, I will consider myself to be a pianist. I use audience in the broader sense, as my only audience is often just me.... but if I just plunk through the music, I’ve lost my whole reason for playing

This will be a YouTube that I will save and re-play frequently

I'm a little bit lazy, if the piece is too difficult, I drop notes. Too simple, I add notes.

Serge

I very much enjoyed this video but I really don't understand what Zander is trying to tell Hass when he tells the story about his great cello teacher playing like a pig one day but the neighbor is crying because she is so moved. (The part from around 5:50 to 7:30)

I'm hoping someone can shed some light on what Znder means. Thank you.

Hi Plover
My take on the section you referenced: His cello teacher’s performance was not technically accurate, But reached the higher goal of communicating the message of the music with the audience, just like he tells the student that the communication with the audience is the primary concern over virtuosity.

What a great video! I never thought of watching a string master class but this was really inspiring and appropriate for any instrument. Thanks for that!

OK, I mostly got that.

But what do you(or anyone else) make of (in reference to his teacher) "It isn't about his playing, it's about his being" and (in reference to Hass) "they are touched by you in spite of your great playing".

Thanks for sharing this video. Even though it’s about playing cello, the overall advice about musicality applies also to the piano. I was interested in how Benjamin Zander’s teaching style was effective in getting the cellist to make minor changes in his bowing and phrasing and yet produce large changes in how the music sounded.

I participated in a couple of masterclasses in which the teacher used a similar effusive conducting style, including singing along with me as I played. At first it was disconcerting, but then I found it to be very appealing. The experience was that he and I were working together as a team towards the same goal.

Reference to teacher: it wasn’t technique that was important....... but that he communicated the music from his soul
Reference to Hass: the audience felt your passion. You did not let your virtuosity overshadow it, so that how well you play was the only thing communicated

I think you hit the nail on the head. Now it makes perfect sense to me.