Kemal's rendition of Mephisto Waltz No. 1 (Montreal, Canada, 1988)
Alan is attempting to not only avoid the injury but actually heal his shoulder by approaching this segment properly
In other words, really dissect the score and learn it in a way that cultivates healing of Alan's injury
Kemal and Rastko keep on working on the etude
and a few other things too. Remember, this is a Paganini etude
and it should be played that way
Series wrapup. And we also talk about that magic in sound that means a difference
No matter what you think about the music or the score, it really needs to sound/resonate/vibrate..
The sound we are looking for here is more raw
Kemal plays Hungarian Rhapsody No. 11
Kemal plays Hungarian Rhapsody No.10
Liszt-WIlde Jagt-Transcendental Etude
We are talking about the structure and Kemal points out that everything played must really sound well
Liszt in Paris, education, friends and influences..
We are moving through the piece and talking about the sound differentation, layers
We are talking about Listz's early life, up until the moment he moved to Paris
We are covering dolce appassionato and presto sections and talking about the character, harmonies..
Transcendental Etude No. 9
Wilde Jagd performance
Kemal plays Liszt - Feux Follets
Kemal plays Liszt - Chasse-Neige
Kemal plays Harmonies du Soir
We are talking about dynamics and some interesting effects one should do when playing this waltz
Kemal talks about meter and how elastic it can be in Liszt's compositions.
Ten minute segment on the famous La Campanella opening
We are talking about their personal relationship in this short video
Kemal is looking for a specific dirty sound and explains the difference between accents and non accents
The piece has its own life and dynamic. A performer needs to be well aware of those
Stefan performs for Kemal and they start working on the piece, trying to understand what it is about.
Alan and Jan dig deeper into the waltz and talk about elasticity, structure, Mephisto's character.
Wilde Jagd from Tauberbischofsheim, 2015
Part 9 and the series wrap up. Kemal points out how much the actual performance and playing for audience matters.
Part 8, more on dynamic levels, articulation and voicing.
As we progress throughout the etude, we get to talk about sound levels
We are talking about the main two themes, artistic freedom and getting down to the nitty gritty of this etude.
Metric, dynamic contrasts, a bit more on Liszt and how he composed..all that in part 5
Digging deeper into the score, main themes, the opening
Part 2 of an excellent lesson Alan gave in Ohio. Training reflexes, rotation..
A lesson given a few years back in Novi Sad, Serbia. Mini series in a few parts
Another recent lesson with a focus on the thumb, orchestration and sound
Another Feus Follets from Kemal Gekic, but from a different recital
Transcendental Etude No.12 from Tauberbischofsheim, DE 2015
Alan is heloing Remon get a great sound and become one with the piano
In part 2 we continue working on the opening and that great roaring sound
Opening of the second recital in Germany 2015
Alan and Remon are working on the right sound for the opening of this etude
Transcendental Etude No. 11
Another transcendental etude from Kemal
Alan and Marc work on the concert etude [entire lesson]
Transcendental Etude No. 5
Smith 2015, unedited lesson
From a mastreclass in Trossingen, Germany 2008
Part 2 of 3
AFF Institute - Overveen 2015
From a workshop in Trossingen, Germany
A rather short but informative on a concert etude
Lesson from an Institute - Ottawa 2014
Unedited lesson from a masterclass Kemal gave in Japan. One hour and 16 minutes long
Second year of Pilgrimage: Italy
Alan and Marc are discussing passages, octaves..
Kemal Gekic - Somus Festival Sombor, Serbia 2014
Kemal's performance in Sombor, Serbia - Somus Festival 2014
More on arch and hand structure in passages
The only DVD Kemal has ever released. A valuable insight into playing one of the most versatile piano players today.