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The Magic in the Music – Part II
Here’s why a magician cannot believe in the magic!
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The Magic in the Music – Part II

User image The Magic in the Music – Part II
Posted by Dylan Christopher, 1 year ago
Tags: practise, understanding, guide

The Magic in the Music – Part II

Back to 'Part I'

It is very easy when starting the journey of learning to play music, to be seduced by the spectacle of a good performance; to the uninitiated, it would also seem magical.  If you might indulge me for a moment, and picture a scene:

The lights fade up, and the audience erupts into applause; the musician enters the stage, takes their bow and sits at the piano, waiting for what seems to be an eternity, until the entire room falls completely silent.

Just as the silence becomes almost deafening, the performer springs to life, filling the air with cascade, after cascade of the most wonderful harmonies.  They make it look easy; effortless.  Each note penetrates the air, moving the audience to a place, where they feel like they have a direct connection to the music being performed.

The final note chimes out, resonating, while fading out into the silence; the dream is over.  Now, again, silence; the audience sits while they digest what they have just heard.  One by one they emerge into a torrent of applause; the musician stands, takes a bow, and exits the stage.

Valentina Lisitsa - Beethoven: "Moonlight" Sonata in C sharp, Op. 27 No. 2 (2010)

Aimi Kobayashi - Chopin: Etude in C sharp minor, Op. 10 No. 4 (2015)

The emotions felt during a good performance of music can do one of two things.  It can make a person feel like the art of music-making is so easy, that they could do it.  Alternatively, it can make a person feel like the art of music-making is so difficult, that they could never do it.  Either way, this creates a problem for someone hoping to achieve any degree of success.  These emotions taint the reality which is not seen during those precious moments while a performance is taking place; the set-up.

Continue to 'Part III'

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Dylan completed his music training with honours at Colchester Institute, where he studied piano with Australian pianist Lesley Young, and composition with British composer Dr Mark Bellis. While studying, in 2009, Dylan won Colchester Institute’s Canon Jack Award for Solo Piano adjudicated by Andrew Ball.  A composer, promoter, and advocate of contemporary classical music, Dylan joined the membership of Colchester New Music in 2014.

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