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Sometimes they would reminisce about their salad days at the Curtis Institute in Philadelphia. In that great school, the three of them, as well as Bronja, had studied with David Saperton. There were tales about the imperiousness of Isabelle Vengerova, the meanness of composition teacher Rosario Scalero, and the strict theory lessons of Mme.

A very heady environment for a young South American student just beginning to learn how to think about music and musicians, indeed! In my very first lessons Foster revealed not only his original way of thinking about music-making but also his unusual capacity to articulate, verbally, his ideas.

He always said that his first ambition had been to compose. Perhaps this is what gave him the ability to approach any piece of music from the standpoint of the compositional process that allowed the author to go from the germ of an initial idea to the finished work. Even a piece one had not heard before, e.

To Foster, musical meaning was to be found in the set of relationships among all the musical elements: harmonic, dynamic, tempo, and temporal relationships the idea that when an event occurs, whether as a first utterance or as a repetition, is crucial to determine its expressive value.

He organized his playing around the structure of the musical bar and it's implicit differences of intensity between the beats. That basic sense of pulse, his infallible rhythm and the permanent play of tension and release in the harmonic structure of a musical phrase were three pillars that made his piano playing intensely, compellingly alive.

None of this should remotely suggest that expression, affect and drama were not his concern as pianist and teacher. To the contrary: he was a master at conveying, in his playing and in his teaching, the subtle differences in dynamics and timing that make for natural expression in music.

As a performer, he was keenly aware that character and mood are in constant change , following the harmonic and rhythmic unfolding of a passage. Tone was also a hallmark of his aesthetics of piano playing. In the matter of tone production, his advocacy of arm weight resulted in an unforced, fully resonant sound that, in the manner of the great masters of the past, projected through the entire acoustic space.

He understood the problems that the modern piano poses for the performer, with its homogeneity of color across the full extent of the keyboard. This homogeneity can result in a thick, muddy, impenetrable tone if the pianist is not able to control the dynamics of simultaneous sounds. The solution for Foster was to strive for maximum differentiation between melody, basses, and inner textures, and the result was a tridimensional sound, in which melodies soared above a carefully delineated bass line, while the inner textures emerged clearly in all their harmonic richness and variety.

He pedaled with mastery and imagination, taking full advantage of the middle, "sostenuto" pedal. Sometimes he would depress soundlessly a key in the bass or middle range, so as to catch it with the "sostenuto"pedal and make it sound later, while cleaning any dissonances with the right pedal. Other times, he would land on a bass note that he wanted to prolong for the sake of a rich sonority or contrapuntal effect, and instantly release the notes above, so that only that note, caught on the "sostenuto" pedal, would underpin the resulting texture.

When contrapuntal voices were too close in range, he never hesitated to separate them in time, without altering the natural flow of the lines, thus allowing each of them to be heard clearly. Logically, he was very aware of the contemporary developments in musicology and the burgeoning interest in "authenticity" in performance.

For Foster, the art of piano playing was the art of conveying musical meaning, and meaning was intrinsic to the work, not just a function of the composer's intentions. He was not indifferent to scholarly research. Tellingly, the first book he gave me as a present was Emery's volume on Bach's ornamentation. And he thoroughly distinguished between originality or creativity, and ignorant or uninformed playing. But he understood the limits and imprecision of musical notation and did not elevate the printed score to the position of a definitive and unique blueprint of the meaning of the work.

Perhaps, he saw the score as only a vague shadow of the composer's concept. Maybe he was an avatar of the intellectual zeitgeist of the mid-century, which found its maximum expression in Roland Barthes's essay "The Death of the Author", and elevated readers to a position of co-equal creators of meaning. But it was clear in Foster's playing and teaching that there was no quasi-religious reverence for the "wishes" or the "true intentions" of the composer.

As an extensive reader of Freud, Foster knew too much about the pervasive influence of the unconscious in every creative act to slavishly follow the instructions of a score without a thorough critical analysis based on musical and aesthetic considerations. Foster's way of filling the gaps left by notation was to highlight musical prosody, that is, those variations of stress and emphasis that contribute to meaning.

He used the differences and contrasts of dynamics and timing to convey such meaning. Foster's score markings for his students offer a fascinating view of his mastery of musical prosody. He lavishly used dynamic "hairpins" to suggest the constant rise and ebb of intensity and gradations of volume in a phrase or group of phrases.

Foster's own phrase marks and slurs reveal his own opinion about the parsing and shaping of melodies. He had absolutely no qualms in disobeying the printed dynamic marking if the musical meaning of a passage demanded it. The sense of inevitability in his approach to dynamics always managed to convince the listener. The manipulation of time and his use of rubato for rhetorical and expressive purposes gave Foster's performances an intense declamatory character that commanded the listener's attention.

Foster's gifts is to make his interpretations relate a story, so the listener feels that something definite and complete has been told by the end of a piece. He favored brisk tempi in fast movements and a forward-moving pace in slow ones. His velocity and articulation were legendary. Indeed, he never played it safe. He was unconcerned by wrong notes and went straight to the core of the musical message.

His performances never sought to reproduce a fixed interpretation arrived at beforehand. He aimed to recreate the work on the spot and encouraged his students to do the same. By the same token, he never put too much store on recordings, believing that music making was a process that unfolded in time, in a particular place, in specific acoustical circumstances, to be listened to strictly as it was created.

He did not pursue recording opportunities, and he never, ever, listened to tapes of his past performances. We are extremely lucky that he was so generous about performing at Indiana University, as the tapes of those recitals, plus a few live recordings from New York, Boston, Tokyo and a handful of American cities are all we have to appreciate his commanding artistry.

Foster's repertory ranged from Bach to Prokofieff , although he also broke a lance on behalf of his contemporaries when he premiered Norman Dello Joio's First and Second Sonatas in consecutive Carnegie Hall recitals in the Forties. The Classical composers he performed in public included a sprinkle of Mozart and a hefty chunk of Beethoven sonatas, from the early Pathetique to Op.

His performances of the two major middle sonatas, the Waldstein and Appassionata, were archetypal versions of relentless drive, drama and muscularity. Chopin, Schumann, Liszt and Brahms made up the bulk of his Romantic repertory. Perhaps Chopin's infinite imagination inspired Foster to display the widest range of expressive and contrapuntal details, with a fully orchestral sound, lyrical melodic lines and insistent inner voices within an overall framework that never bowed to the then common view of Chopin as a composer of small-scale, "poetic" works.

The French Impressionists were not entirely absent from his programs. Some Debussy preludes -- La terrasse des audiences du clair de lune , Le vent dans la plaine, Feux d'artifice, and a couple of other works show up on a few of his youthful programs. So does the Ravel Toccata. Foster performed quite a bit of chamber music from his early professional days, when he toured with the LeRoy Foster Scholz Trio flute, piano and cello , until the end of his life.

For the trio, Foster composed, under the pseudonym E. In Indiana University he played the complete Beethoven Sonatas for Violin and Piano with violinist and legendary teacher Joseph Gingold, and appeared as guest with the Berkshire String Quartet and other faculty members. I was fascinated by the economy and efficiency of his hand motions, and more than once forgot to turn the page. None of this posed any problems for Foster as it usually took just one rehearsal for him to memorize the piano part, and there were never any "accidents" provoked by my distractions.

An off the air recording of the broadcast has preserved for us this tour the force of bravura writing and playing, as the cadenza shows impeccable stylistic awareness and daring imagination, in a framework of strictly Beethovenian passage-work. Foster's generosity with his resources and with his time had no bounds.

His teaching schedule at Indiana University far exceeded the requirements of the school. Although his regular lessons, lasting one hour, were very well organized, if a student's impending performance or participation in a competition so required, he went back to school after dinner and spent two or three extra hours listening and advising.

As I prepared the repertory for the Tchaikovsky competition in Moscow in , he would gladly sit at the second piano and sight-read, flawlessly, the orchestra part of Prokofieff's Second Concerto , while listening to the solo part and offering not only interpretive solutions but also suggestions for fingering or rearranging the distribution of notes between the hands.

He was a firm believer in the redistribution of notes for the purpose of clarifying textures and facilitating performance. He was, indeed, imaginatively creative in that respect, and to this day his students eagerly seek the marked scores of their colleagues when they have to learn a new piece or when they have to teach those works to their own pupils.

Another facet of his generosity as teacher was the holding of a collective piano class, from 2 to 4, every Sunday afternoon during the school year. His class assembled in IU's Recital Hall and listened to the students' performances of works ready to be presented in recital. Foster encouraged and moderated the critical discussion of those performances, teaching us to think clearly and to articulate our ideas, and enriching our artistic judgement and our capacity to convey knowledge to others.

He always put the learning interests of his students above his own ego considerations. When I learned the Prokofieff Second for the Moscow competition, Foster asked his childhood friend and esteemed colleague Jorge Bolet to listen to me. Bolet had been the first pianist to record the then rather obscure piece and was an unquestionable authority on it.

Foster did not play the work, so he naturally felt that I could have a richer learning experience with the pianist that had already made it his own. But his own lack of egoism vis-a-vis his students getting advice from other accomplished artists also extended to my working on other pieces. This from a pianist that was capable of tossing off towering performances of the Liszt Sonata, and Venezia e Napoli, as Foster's live recordings attest!

Sidney Foster's strength and stamina were put to the test by a series of severe health problems. He had a heart attack at the age of thirty-eight which interrupted his performing career for almost four years. At fifty, he broke a leg in a car accident. In between, he was diagnosed with a complex disease of the bone marrow, myeloid metaplasia, which left him at times anemic and gravely affected his energy levels, although as all of his students could attest, there was never any slacking of his teaching activities.

When the metaplasia was detected he was given a prognosis of about seven more years to live. The fact that he survived for more than a decade is a testimony of the extraordinary care he received from his wife and family, in terms of nutrition and love, and of his will to live and positive outlook on life. I marvel at my own extreme good fortune, as when I met him in Montevideo in , he was already under a kind of medical death sentence. I never knew it until two or three years before his passing in February , when the enlargement of his spleen became too evident to hide.

Even so, he continued performing and learning repertory. In he learned American composer Ernest Schelling's Suite Fantastique for piano and orchestra, which had not been performed since the thirties. That was the last time I heard Sidney play. A few months later, on the weekend of February , I was by his bedside in Boston's New England Medical Center, and although his health was severely compromised by then, we didn't expect that, having come through another operation, he would die in the early hours of 7 February.

Sidney Foster, the pianist and teacher, was a glorious paradox. He, the pianist who could play faultlessly by ear anything he heard, who could read at first sight the most complex piece of music, who was capable of sitting down in his studio to demonstrate any passage of his vast repertory at the drop of a hat, was also unlike other musical geniuses the most intellectually insightful and verbally articulate teacher any aspiring young pianist could ever encounter in his studies.

On the night before I moved from Bloomington to New York, in August , after saying our good-byes to Sidney and Bronja, and as we were walking to our car in the balmy and fragrant Bloomington night, my wife and I heard Sidney through the window, tinkling at the piano. Oops Tuxera! Thank u. The machine is just a month old to be precise No it didn't work the way that i expected it to be May 13, AM.

The warranty entitles you to complimentary phone support for the first 90 days of ownership. Question: Q: iMac 5k facing some issues! More Less. Community Get Support. Sign in Sign in Sign in corporate. Browse Search. Ask a question. User profile for user: Vijay Andrews Vijay Andrews. Question: Q: Question: Q: iMac 5k facing some issues! Have been getting these issues on Yosemite Error 1 2days back got blank screens when tried to play videos on Youtube, only the audio and streaming was happening Error 3 This happened yesterday when i tried to watch a short film on Youtube Reply I have this question too 1 I have this question too Me too 1 Me too.

All replies Drop Down menu. Loading page content. Would be of great help if u folks can guide me on this asap. EtreCheck version: 2. Update QuickTime Plugin: Version: 7. Reply Helpful Thread reply - more options Link to this Post. User profile for user: rkaufmann87 rkaufmann User profile for user: poikkeus1 poikkeus1. May 12, PM in response to rkaufmann87 In response to rkaufmann87 There's unusual RAM activity on your machine, hogging nearly three-quarters of the chip.

The problem may be Tuxera - which has been implicated slowing down some machines. User profile for user: Linc Davis Linc Davis. Has it ever worked the way you expect? User profile for user: alberto.

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