![]() To feel his toddler emotions, as time goes by in his childhood home, where grief and mourning are king. To answer these questions, we need to get as close to him as possible. How did Gustav become Mahler? How did the two of them live together during their short lives? Why does his music move us so much, speak to us so much, even when he has deliberately deprived it of words? It also means trying to answer some intimate questions. To immerse the reader in his direct environment, rather than in the historical context of his time. Writing a book in 2016 means getting as close as possible to this little boy, observing him even more than the giant he was to become. A dreamy, stubborn little boy, battered by life and clinging to an ideal, an artistic dream through which he hoped to open the gates to eternal life. ![]() Before becoming a musical hero, he was Gustav. Mahler the legend has ousted Mahler the man, the simple, the fragile. To propose a new approach, at once rapid, direct and immersive. To embrace his legacy, then, we must venture inside him, where history can only support us, where words give way to the simple human emotions that one man can imagine for another. But what about the spiritual significance? For if ever there was a composer whose work poured out his whole soul, it’s Gustav Mahler. Why write a book about Gustav Mahler in 2016?Īren’t the biographical works that have been published for decades enough for anyone wanting answers? Of course they are! Scientific answers on dates, historical elements or testimonies. This is the experiment conducted at the École de Musique de Colomiers with Marc Jamond, Director, teachers Catherine Gérin, Pascale Monteil, Ruth Atienza Platon and their students, to whom this series of notebooks is dedicated. The door is open to new adventures with very direct access. If you apply this symmetrical playing style to both hands, the playing is much more natural and easier for a beginner, and produces musical results that may be disconcerting at first, but are astonishingly rich, eliminating the many clichés, and discover a wide variety of melodic and harmonic modes developed in contemporary music since Debussy and Messiaen, in particular the chromatic mode, the tonal scale, mode 2, the acoustic mode and all the more well-known plainchant modes (D, E, F, G, A). If, on the other hand, we observe that our two hands placed flat on a table are also symmetrical, with the two thumbs facing each other, the first idea is not to set up a scale with both hands playing in parallel (the left hand linking the sounds starting with the little finger, the right with the thumb), as this way of playing is less spontaneous than playing in mirror, with both hands using the same fingering. Indeed, if we forget everything and look at this instrument like a Martian accidentally landing on Earth, it presents itself as a body of sound offering visual symmetry starting from the center (C – D ), with white keys regularly arranged on both sides, but perfect symmetry in the succession of white and black keys on either side of this center. A vast program, undertaken with modesty but conviction. ![]() I propose an approach in which we strive to forget the glorious history of the piano, its repertoire and all the playing habits that are linked to its habitual practice. What’s more, its keyboard configuration is totally adapted to tonal music, and since the twentieth century, composers have had to trick their way out of tonal language. Its tempered keyboard seems to fix the musical scale forever, bringing music to a kind of “terminus”. The instrument has conquered the planet, and is universally used in all musical genres. With its perfect mechanics, exact tuning, melodic and harmonic interplay, the ability to play every conceivable chord, and almost infinite range, it is a perfect instrument, the culmination of hundreds of years of evolution, for which countless works have been written, culminating in the 19th century and a prodigious progression in virtuosity. The piano, a symmetrical body of sound a new look at the instrument The piano is the benchmark instrument for musicians. Score Le Piano Symétrique (volumes 1 ,2 & 3)
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