![]() ![]() Because of that, you would think that playing a recital wouldn’t be a big deal. I’d have seven or eight short pieces and he’d switch on the tape machine. From my very first pieces, he recorded virtually everything my sister and I studied. I’m sure many of you would be interested in hearing some of these recordings. One of these days I’ll pull some of them out. There are tapes of my playing from the time I started lessons. #What is the age of my piano professional#In my father’s studio, he had professional recording equipment. That’s where I first had an opportunity to play in a recital. In June he had two recitals back to back for all of his students who weren’t ready for solo or joint recitals. Because it’s so important to practice performing, for the reasons I’m going to articulate in a moment. It would be a three, four, or even five way recital, giving students ample opportunities to perform. Sometimes he would have multiple students perform. Each month he’d feature a student who was preparing a solo recital. In fact, my father had monthly recitals there. There was a big addition on the house with two grand pianos. Though my father was a professor of music at Hofstra University in Hempstead, Long Island, he did most of his private teaching right in our home. I grew up studying piano with my father, Morton Estrin. ![]() In the olden days with in-person lessons, my students would play for me and say, “It went better at home.” But with virtual lessons, what excuse is there when they’re at home on their own pianos? Well, there’s a lot to this subject. Performers know how different it is when you play for other people. It seems like it was only yesterday, even though I was a very young child. ![]()
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