There’s no rules and there also aren’t any legit strategies.
I have people who study with me who can’t understand why an artist might want to make some money from playing… it’s good enough for them to treat it as a hobby… so it’s a hobby.
But, because we can’t re-educate society one-by-one (with relentless gang banging cream pies….)
Doesn’t mean that we shouldn’t try.
I forgot my original point.
Optional: invest in a dog bed (and dog collar).
But yeah, “even” for YouTube… Feinberg 1 likely a more solid choice.
Are you ready for record label execs to gangbang you when you pitch a recording of the whole set (3 CDs) which you will also fund at about $5000 per disc?
Something to think about.
Yeah you are really a great person to learn frmo, the financial side of art here you seem like you have a great perspective. It’s very sobering, and interesting.
RN, I’m just gonna focus on the rep I have in the OP, and if I feel like I can do Feinberg 1 I’ll do it, I’ll start dabbling in it.
Oh I finally also remembered a big point.
I think as time goes on, followers and clout will matter a lot more than like money kind of if you get what I mean.
So, I think if you can grow a big following by being a great artist (you don’t have to be Corrtot but I wanna be), that can be a really good path, especially in the future.
Then, I also wanna get involved in festival life, and help educate the younger generation. I really admire Heinrich Neuhaus, I want to be like him and just teach people and write books and be a great artist like him. He wasn’t like Hoffmann/Lhevinne in skills, and I don’t think that’s possible for me, but, I think his level is somewhere I can get with hard work, and I’m wiling to do it.
I mean…. I made many “mistakes” (never took a private lesson with an influential cunt, never prepared my best for comps, often submitted pretty badly engineered vids recs which were also played stiffly, sometimes unleashed too wildly and roughly in live auditions… and only started looking at investing in my own projects when I turned 30 and got too old for comps!)
My biggest fear was that I wouldn’t “get to” play and just have to go into a totally different field which would suck me dry.
Now, finding the focus for 3-5 hours of practice time can be hard, but if you love the craft, you will do it.
(ignore what others are doing, for every success story there’s hundreds of thousands who either went insane, turned to prostitution or went the music theory route! Or some combo of the 3. Social media doesn’t give an accurate perspective).
And think of your own projects to do. Make up the fucking rules.
Bust out the score and show that sonata who is daddy.
You could always take estrogen and cosplay as a woman.
(Damn)
Other ideas… do this (don’t forget to put Lola Astanova tribute) in the title. Easy 300k+ views
Well, if you are going into programming, then, absolutely, play what you really like and don’t feel the need to conform to any outside expectations. Good luck with everything!
Really? You think people are searching for Feinberg 1?
I applied for Lola’s B major club btw. Probably better than YouTube
I think because it’s somewhat more niche, it can help it stand out when someone does search for it. I’m not a search engine optimization expert but there are some tricks out there to help you rank vids
If I was a musician without ambitions of becoming are concertizing 88ist, I’d get the hell out of NY. It’s too expensive here.
Nor am I, but I think you’d still get more hits with familiar pieces.
Yeah, maybe! Idk, I really think the Feinberg 1 might be easier to rank than Scriabin 4.
But it could always be a good idea to learn both and see. Actually creative programming too.
Work that Russian sonata perspective and throw in the Tchaik Grand Sonata and/or the Balakirev Sonata.
Just puttin out ideas.
I really like Ustvolskaya’s 5th Sonata. It’s not really pianistic, but it packs a punch.
This is Ugorsky’s daughter who passed away some years ago. RIP!
One of my old friends from undergrad (lives in Europe now, her husband is also an excellent pianist) recorded all the Scriabin Sonatas and a bunch of smaller pieces btw:
I love the Tchaik Grand, IDK Balakriev, but I’ll check out.
I’ve seen on a ranking system Trinity College ranks Scriabin 4 as a level easier, if that matters.
Maria Callas Fan also said that he thinks Feinberg 1 is easier and Scrib 4 is really fkcing hard. So, IDK. I’ll definitely learn both, because first page I’m comfortable with on Scrib 4, 2nd and 3rd with some work I’ll be fine, and the Finale I can play some of it, and I helped my friend actually with tech tricks for those beginning chords of the presto, so I think technically I can handle the piece, but musically it shatters my small brain.
Feinberg it seems musically less complicated (by just looking at score), but, technically seems way harder so idk.
I’m gonna just focus on these easier things though, and then when it’s time, IK i’ll just be able to show them who is daddy, it will just fall into place I feel, the fact that I’m even posting this and thinking about it is part of the process to be honest, so maybe it’s my fate to realize both of them.
Wohah wtf is this artistic shit, it seems very based, going to bookmark it.
It seem to percussive for my taste, I’m very big a romantic… Perhaps when I get older, I wil revisit this.
Wow she passed away young! how tragic!
