Highlighting virtuosic skill and compositional prowess, TALON SMITH: DEBUT showcases the remarkable artistry of the young pianist and composer through two compelling original works, offering listeners an evocative and memorable musical experience.
Today, Talon is our featured artist in the “Inside Story,” a blog series exploring the inner workings and personalities of our composers and performers. Read on to learn which classical masterworks are currently in his listening rotation, and how his first piano teacher sparked an inspiration that remains just as strong today…
I probably would be working towards filmmaking or show running. For a while now, I have held an interest in classic films and, more recently, classic shows. I enjoy observing and comparing the various storytelling techniques used in high-quality productions, and I imagine it must be great fun to make those decisions for a movie or a show. Alternatively, I could have seen myself going to seminary and becoming a pastor. I enjoy studying the Bible and discussing it with people, and as a pastor I would get to do those things all the time.
I would advise myself to dare to feel music deeply. My breakthroughs as both a composer and pianist came when I learned not to worry about whether what I created was “correct,” “cool,” or acceptable to the critics, and instead made it my sole concern to write and perform music the way I feel it. What makes each musician so distinctive is the personal touch that they lend to their compositions or performances. It’s important not to shy away from that, but rather to lean into it and to develop it into its best form.
Lately, there are three albums in particular that I often turn to. First, Mozart: The String Quartets, recorded by the Amadeus Quartet for Deutsche Grammophon. I often feel that Mozart’s chamber music contains some of his most brilliant ideas, and the Amadeus Quartet brings these ideas to joyous, magnificent life. Second, Rachmaninoff: The Bells & Symphonic Dances, recorded by Kirill Kondrashin with the Moscow Philharmonic Orchestra and the State Symphony Capella of Russia. In my opinion, there is no conductor who interprets the great Russian orchestral repertoire so well as Maestro Kondrashin. Finally, I often listen to movements from Mahler: Symphonies Nos. 1-9, recorded by Michael Gielen with the SWR Symphony Orchestra. Maestro Gielen’s Mahler cycle is, in my opinion, the best of all time.
My first musical experiences took place outside the scope of my memory. I’m told that my mom played classical music recordings while I was still in utero. And since my first years of postnatal life, classical music has been a regular fixture in my home. The first piece of classical music I specifically remember hearing was Chopin’s Valse brillante, Op. 18 in E-flat major. At that age, I saw the word “brillante” (“brilliant”), and my mind immediately connected it to the idea that this music was very “smart.” Of course, nearly 20 years later, I realize at a much deeper level just how “smart” this music really is.
At the piano, I have two pet practicing methods that I apply regularly. First, I play the music slowly, without pedal, but with the same musical inflections that I would use in a performance. Second, I play the notes of the music almost entirely with finger staccato. The first method allows me to lock in a certain expressive scheme that I use both as a guide and a point of departure during concerts. The second method builds finger agility and endurance and also promotes a good basic touch, which is essential for producing a mellifluous singing tone.
I have had the privilege of working with many of the world’s finest teachers and musicians, and I have learned a great deal from all of them. But I think my most influential musical mentor would have to be the one who got me started on piano in the first place — my first teacher and my friend, Brian Hammons. He has a real knack for teaching the student, rather than teaching piano. Somehow, in the midst of showing me how to read music and how to play scales, he found a way to impart to me a love for the instrument. He nurtured an enthusiasm for the piano that buoyed me through later periods of more demanding training that would otherwise likely have discouraged me from pursuing music as seriously as I have. I will remain grateful to him for the rest of my life.
🎹 Full article here.
Highlighting virtuosic skill and compositional prowess, TALON SMITH: DEBUT showcases the remarkable artistry of the young pianist and composer through two compelling original works, offering listeners an evocative and memorable musical experience.
Today, Talon is our featured artist in the “Inside Story,” a blog series exploring the inner workings and personalities of our composers and performers. Read on to learn which classical masterworks are currently in his listening rotation, and how his first piano teacher sparked an inspiration that remains just as strong today…
I probably would be working towards filmmaking or show running. For a while now, I have held an interest in classic films and, more recently, classic shows. I enjoy observing and comparing the various storytelling techniques used in high-quality productions, and I imagine it must be great fun to make those decisions for a movie or a show. Alternatively, I could have seen myself going to seminary and becoming a pastor. I enjoy studying the Bible and discussing it with people, and as a pastor I would get to do those things all the time.
I would advise myself to dare to feel music deeply. My breakthroughs as both a composer and pianist came when I learned not to worry about whether what I created was “correct,” “cool,” or acceptable to the critics, and instead made it my sole concern to write and perform music the way I feel it. What makes each musician so distinctive is the personal touch that they lend to their compositions or performances. It’s important not to shy away from that, but rather to lean into it and to develop it into its best form.
Lately, there are three albums in particular that I often turn to. First, Mozart: The String Quartets, recorded by the Amadeus Quartet for Deutsche Grammophon. I often feel that Mozart’s chamber music contains some of his most brilliant ideas, and the Amadeus Quartet brings these ideas to joyous, magnificent life. Second, Rachmaninoff: The Bells & Symphonic Dances, recorded by Kirill Kondrashin with the Moscow Philharmonic Orchestra and the State Symphony Capella of Russia. In my opinion, there is no conductor who interprets the great Russian orchestral repertoire so well as Maestro Kondrashin. Finally, I often listen to movements from Mahler: Symphonies Nos. 1-9, recorded by Michael Gielen with the SWR Symphony Orchestra. Maestro Gielen’s Mahler cycle is, in my opinion, the best of all time.
My first musical experiences took place outside the scope of my memory. I’m told that my mom played classical music recordings while I was still in utero. And since my first years of postnatal life, classical music has been a regular fixture in my home. The first piece of classical music I specifically remember hearing was Chopin’s Valse brillante, Op. 18 in E-flat major. At that age, I saw the word “brillante” (“brilliant”), and my mind immediately connected it to the idea that this music was very “smart.” Of course, nearly 20 years later, I realize at a much deeper level just how “smart” this music really is.
At the piano, I have two pet practicing methods that I apply regularly. First, I play the music slowly, without pedal, but with the same musical inflections that I would use in a performance. Second, I play the notes of the music almost entirely with finger staccato. The first method allows me to lock in a certain expressive scheme that I use both as a guide and a point of departure during concerts. The second method builds finger agility and endurance and also promotes a good basic touch, which is essential for producing a mellifluous singing tone.
I have had the privilege of working with many of the world’s finest teachers and musicians, and I have learned a great deal from all of them. But I think my most influential musical mentor would have to be the one who got me started on piano in the first place — my first teacher and my friend, Brian Hammons. He has a real knack for teaching the student, rather than teaching piano. Somehow, in the midst of showing me how to read music and how to play scales, he found a way to impart to me a love for the instrument. He nurtured an enthusiasm for the piano that buoyed me through later periods of more demanding training that would otherwise likely have discouraged me from pursuing music as seriously as I have. I will remain grateful to him for the rest of my life.
🎹 Full article here.
Highlighting virtuosic skill and compositional prowess, TALON SMITH: DEBUT showcases the remarkable artistry of the young pianist and composer through two compelling original works, offering listeners an evocative and memorable musical experience.
Today, Talon is our featured artist in the “Inside Story,” a blog series exploring the inner workings and personalities of our composers and performers. Read on to learn which classical masterworks are currently in his listening rotation, and how his first piano teacher sparked an inspiration that remains just as strong today…
I probably would be working towards filmmaking or show running. For a while now, I have held an interest in classic films and, more recently, classic shows. I enjoy observing and comparing the various storytelling techniques used in high-quality productions, and I imagine it must be great fun to make those decisions for a movie or a show. Alternatively, I could have seen myself going to seminary and becoming a pastor. I enjoy studying the Bible and discussing it with people, and as a pastor I would get to do those things all the time.
I would advise myself to dare to feel music deeply. My breakthroughs as both a composer and pianist came when I learned not to worry about whether what I created was “correct,” “cool,” or acceptable to the critics, and instead made it my sole concern to write and perform music the way I feel it. What makes each musician so distinctive is the personal touch that they lend to their compositions or performances. It’s important not to shy away from that, but rather to lean into it and to develop it into its best form.
Lately, there are three albums in particular that I often turn to. First, Mozart: The String Quartets, recorded by the Amadeus Quartet for Deutsche Grammophon. I often feel that Mozart’s chamber music contains some of his most brilliant ideas, and the Amadeus Quartet brings these ideas to joyous, magnificent life. Second, Rachmaninoff: The Bells & Symphonic Dances, recorded by Kirill Kondrashin with the Moscow Philharmonic Orchestra and the State Symphony Capella of Russia. In my opinion, there is no conductor who interprets the great Russian orchestral repertoire so well as Maestro Kondrashin. Finally, I often listen to movements from Mahler: Symphonies Nos. 1-9, recorded by Michael Gielen with the SWR Symphony Orchestra. Maestro Gielen’s Mahler cycle is, in my opinion, the best of all time.
My first musical experiences took place outside the scope of my memory. I’m told that my mom played classical music recordings while I was still in utero. And since my first years of postnatal life, classical music has been a regular fixture in my home. The first piece of classical music I specifically remember hearing was Chopin’s Valse brillante, Op. 18 in E-flat major. At that age, I saw the word “brillante” (“brilliant”), and my mind immediately connected it to the idea that this music was very “smart.” Of course, nearly 20 years later, I realize at a much deeper level just how “smart” this music really is.
At the piano, I have two pet practicing methods that I apply regularly. First, I play the music slowly, without pedal, but with the same musical inflections that I would use in a performance. Second, I play the notes of the music almost entirely with finger staccato. The first method allows me to lock in a certain expressive scheme that I use both as a guide and a point of departure during concerts. The second method builds finger agility and endurance and also promotes a good basic touch, which is essential for producing a mellifluous singing tone.
I have had the privilege of working with many of the world’s finest teachers and musicians, and I have learned a great deal from all of them. But I think my most influential musical mentor would have to be the one who got me started on piano in the first place — my first teacher and my friend, Brian Hammons. He has a real knack for teaching the student, rather than teaching piano. Somehow, in the midst of showing me how to read music and how to play scales, he found a way to impart to me a love for the instrument. He nurtured an enthusiasm for the piano that buoyed me through later periods of more demanding training that would otherwise likely have discouraged me from pursuing music as seriously as I have. I will remain grateful to him for the rest of my life.
🎹 Full article here.
Highlighting virtuosic skill and compositional prowess, TALON SMITH: DEBUT showcases the remarkable artistry of the young pianist and composer through two compelling original works, offering listeners an evocative and memorable musical experience.
Today, Talon is our featured artist in the “Inside Story,” a blog series exploring the inner workings and personalities of our composers and performers. Read on to learn which classical masterworks are currently in his listening rotation, and how his first piano teacher sparked an inspiration that remains just as strong today…
I probably would be working towards filmmaking or show running. For a while now, I have held an interest in classic films and, more recently, classic shows. I enjoy observing and comparing the various storytelling techniques used in high-quality productions, and I imagine it must be great fun to make those decisions for a movie or a show. Alternatively, I could have seen myself going to seminary and becoming a pastor. I enjoy studying the Bible and discussing it with people, and as a pastor I would get to do those things all the time.
I would advise myself to dare to feel music deeply. My breakthroughs as both a composer and pianist came when I learned not to worry about whether what I created was “correct,” “cool,” or acceptable to the critics, and instead made it my sole concern to write and perform music the way I feel it. What makes each musician so distinctive is the personal touch that they lend to their compositions or performances. It’s important not to shy away from that, but rather to lean into it and to develop it into its best form.
Lately, there are three albums in particular that I often turn to. First, Mozart: The String Quartets, recorded by the Amadeus Quartet for Deutsche Grammophon. I often feel that Mozart’s chamber music contains some of his most brilliant ideas, and the Amadeus Quartet brings these ideas to joyous, magnificent life. Second, Rachmaninoff: The Bells & Symphonic Dances, recorded by Kirill Kondrashin with the Moscow Philharmonic Orchestra and the State Symphony Capella of Russia. In my opinion, there is no conductor who interprets the great Russian orchestral repertoire so well as Maestro Kondrashin. Finally, I often listen to movements from Mahler: Symphonies Nos. 1-9, recorded by Michael Gielen with the SWR Symphony Orchestra. Maestro Gielen’s Mahler cycle is, in my opinion, the best of all time.
My first musical experiences took place outside the scope of my memory. I’m told that my mom played classical music recordings while I was still in utero. And since my first years of postnatal life, classical music has been a regular fixture in my home. The first piece of classical music I specifically remember hearing was Chopin’s Valse brillante, Op. 18 in E-flat major. At that age, I saw the word “brillante” (“brilliant”), and my mind immediately connected it to the idea that this music was very “smart.” Of course, nearly 20 years later, I realize at a much deeper level just how “smart” this music really is.
At the piano, I have two pet practicing methods that I apply regularly. First, I play the music slowly, without pedal, but with the same musical inflections that I would use in a performance. Second, I play the notes of the music almost entirely with finger staccato. The first method allows me to lock in a certain expressive scheme that I use both as a guide and a point of departure during concerts. The second method builds finger agility and endurance and also promotes a good basic touch, which is essential for producing a mellifluous singing tone.
I have had the privilege of working with many of the world’s finest teachers and musicians, and I have learned a great deal from all of them. But I think my most influential musical mentor would have to be the one who got me started on piano in the first place — my first teacher and my friend, Brian Hammons. He has a real knack for teaching the student, rather than teaching piano. Somehow, in the midst of showing me how to read music and how to play scales, he found a way to impart to me a love for the instrument. He nurtured an enthusiasm for the piano that buoyed me through later periods of more demanding training that would otherwise likely have discouraged me from pursuing music as seriously as I have. I will remain grateful to him for the rest of my life.
🎹 Full article here.
Highlighting virtuosic skill and compositional prowess, TALON SMITH: DEBUT showcases the remarkable artistry of the young pianist and composer through two compelling original works, offering listeners an evocative and memorable musical experience.
Today, Talon is our featured artist in the “Inside Story,” a blog series exploring the inner workings and personalities of our composers and performers. Read on to learn which classical masterworks are currently in his listening rotation, and how his first piano teacher sparked an inspiration that remains just as strong today…
I probably would be working towards filmmaking or show running. For a while now, I have held an interest in classic films and, more recently, classic shows. I enjoy observing and comparing the various storytelling techniques used in high-quality productions, and I imagine it must be great fun to make those decisions for a movie or a show. Alternatively, I could have seen myself going to seminary and becoming a pastor. I enjoy studying the Bible and discussing it with people, and as a pastor I would get to do those things all the time.
I would advise myself to dare to feel music deeply. My breakthroughs as both a composer and pianist came when I learned not to worry about whether what I created was “correct,” “cool,” or acceptable to the critics, and instead made it my sole concern to write and perform music the way I feel it. What makes each musician so distinctive is the personal touch that they lend to their compositions or performances. It’s important not to shy away from that, but rather to lean into it and to develop it into its best form.
Lately, there are three albums in particular that I often turn to. First, Mozart: The String Quartets, recorded by the Amadeus Quartet for Deutsche Grammophon. I often feel that Mozart’s chamber music contains some of his most brilliant ideas, and the Amadeus Quartet brings these ideas to joyous, magnificent life. Second, Rachmaninoff: The Bells & Symphonic Dances, recorded by Kirill Kondrashin with the Moscow Philharmonic Orchestra and the State Symphony Capella of Russia. In my opinion, there is no conductor who interprets the great Russian orchestral repertoire so well as Maestro Kondrashin. Finally, I often listen to movements from Mahler: Symphonies Nos. 1-9, recorded by Michael Gielen with the SWR Symphony Orchestra. Maestro Gielen’s Mahler cycle is, in my opinion, the best of all time.
My first musical experiences took place outside the scope of my memory. I’m told that my mom played classical music recordings while I was still in utero. And since my first years of postnatal life, classical music has been a regular fixture in my home. The first piece of classical music I specifically remember hearing was Chopin’s Valse brillante, Op. 18 in E-flat major. At that age, I saw the word “brillante” (“brilliant”), and my mind immediately connected it to the idea that this music was very “smart.” Of course, nearly 20 years later, I realize at a much deeper level just how “smart” this music really is.
At the piano, I have two pet practicing methods that I apply regularly. First, I play the music slowly, without pedal, but with the same musical inflections that I would use in a performance. Second, I play the notes of the music almost entirely with finger staccato. The first method allows me to lock in a certain expressive scheme that I use both as a guide and a point of departure during concerts. The second method builds finger agility and endurance and also promotes a good basic touch, which is essential for producing a mellifluous singing tone.
I have had the privilege of working with many of the world’s finest teachers and musicians, and I have learned a great deal from all of them. But I think my most influential musical mentor would have to be the one who got me started on piano in the first place — my first teacher and my friend, Brian Hammons. He has a real knack for teaching the student, rather than teaching piano. Somehow, in the midst of showing me how to read music and how to play scales, he found a way to impart to me a love for the instrument. He nurtured an enthusiasm for the piano that buoyed me through later periods of more demanding training that would otherwise likely have discouraged me from pursuing music as seriously as I have. I will remain grateful to him for the rest of my life.
🎹 Full article here.
Highlighting virtuosic skill and compositional prowess, TALON SMITH: DEBUT showcases the remarkable artistry of the young pianist and composer through two compelling original works, offering listeners an evocative and memorable musical experience.
Today, Talon is our featured artist in the “Inside Story,” a blog series exploring the inner workings and personalities of our composers and performers. Read on to learn which classical masterworks are currently in his listening rotation, and how his first piano teacher sparked an inspiration that remains just as strong today…
I probably would be working towards filmmaking or show running. For a while now, I have held an interest in classic films and, more recently, classic shows. I enjoy observing and comparing the various storytelling techniques used in high-quality productions, and I imagine it must be great fun to make those decisions for a movie or a show. Alternatively, I could have seen myself going to seminary and becoming a pastor. I enjoy studying the Bible and discussing it with people, and as a pastor I would get to do those things all the time.
I would advise myself to dare to feel music deeply. My breakthroughs as both a composer and pianist came when I learned not to worry about whether what I created was “correct,” “cool,” or acceptable to the critics, and instead made it my sole concern to write and perform music the way I feel it. What makes each musician so distinctive is the personal touch that they lend to their compositions or performances. It’s important not to shy away from that, but rather to lean into it and to develop it into its best form.
Lately, there are three albums in particular that I often turn to. First, Mozart: The String Quartets, recorded by the Amadeus Quartet for Deutsche Grammophon. I often feel that Mozart’s chamber music contains some of his most brilliant ideas, and the Amadeus Quartet brings these ideas to joyous, magnificent life. Second, Rachmaninoff: The Bells & Symphonic Dances, recorded by Kirill Kondrashin with the Moscow Philharmonic Orchestra and the State Symphony Capella of Russia. In my opinion, there is no conductor who interprets the great Russian orchestral repertoire so well as Maestro Kondrashin. Finally, I often listen to movements from Mahler: Symphonies Nos. 1-9, recorded by Michael Gielen with the SWR Symphony Orchestra. Maestro Gielen’s Mahler cycle is, in my opinion, the best of all time.
My first musical experiences took place outside the scope of my memory. I’m told that my mom played classical music recordings while I was still in utero. And since my first years of postnatal life, classical music has been a regular fixture in my home. The first piece of classical music I specifically remember hearing was Chopin’s Valse brillante, Op. 18 in E-flat major. At that age, I saw the word “brillante” (“brilliant”), and my mind immediately connected it to the idea that this music was very “smart.” Of course, nearly 20 years later, I realize at a much deeper level just how “smart” this music really is.
At the piano, I have two pet practicing methods that I apply regularly. First, I play the music slowly, without pedal, but with the same musical inflections that I would use in a performance. Second, I play the notes of the music almost entirely with finger staccato. The first method allows me to lock in a certain expressive scheme that I use both as a guide and a point of departure during concerts. The second method builds finger agility and endurance and also promotes a good basic touch, which is essential for producing a mellifluous singing tone.
I have had the privilege of working with many of the world’s finest teachers and musicians, and I have learned a great deal from all of them. But I think my most influential musical mentor would have to be the one who got me started on piano in the first place — my first teacher and my friend, Brian Hammons. He has a real knack for teaching the student, rather than teaching piano. Somehow, in the midst of showing me how to read music and how to play scales, he found a way to impart to me a love for the instrument. He nurtured an enthusiasm for the piano that buoyed me through later periods of more demanding training that would otherwise likely have discouraged me from pursuing music as seriously as I have. I will remain grateful to him for the rest of my life.
🎹 Full article here.
Highlighting virtuosic skill and compositional prowess, TALON SMITH: DEBUT showcases the remarkable artistry of the young pianist and composer through two compelling original works, offering listeners an evocative and memorable musical experience.
Today, Talon is our featured artist in the “Inside Story,” a blog series exploring the inner workings and personalities of our composers and performers. Read on to learn which classical masterworks are currently in his listening rotation, and how his first piano teacher sparked an inspiration that remains just as strong today…
I probably would be working towards filmmaking or show running. For a while now, I have held an interest in classic films and, more recently, classic shows. I enjoy observing and comparing the various storytelling techniques used in high-quality productions, and I imagine it must be great fun to make those decisions for a movie or a show. Alternatively, I could have seen myself going to seminary and becoming a pastor. I enjoy studying the Bible and discussing it with people, and as a pastor I would get to do those things all the time.
I would advise myself to dare to feel music deeply. My breakthroughs as both a composer and pianist came when I learned not to worry about whether what I created was “correct,” “cool,” or acceptable to the critics, and instead made it my sole concern to write and perform music the way I feel it. What makes each musician so distinctive is the personal touch that they lend to their compositions or performances. It’s important not to shy away from that, but rather to lean into it and to develop it into its best form.
Lately, there are three albums in particular that I often turn to. First, Mozart: The String Quartets, recorded by the Amadeus Quartet for Deutsche Grammophon. I often feel that Mozart’s chamber music contains some of his most brilliant ideas, and the Amadeus Quartet brings these ideas to joyous, magnificent life. Second, Rachmaninoff: The Bells & Symphonic Dances, recorded by Kirill Kondrashin with the Moscow Philharmonic Orchestra and the State Symphony Capella of Russia. In my opinion, there is no conductor who interprets the great Russian orchestral repertoire so well as Maestro Kondrashin. Finally, I often listen to movements from Mahler: Symphonies Nos. 1-9, recorded by Michael Gielen with the SWR Symphony Orchestra. Maestro Gielen’s Mahler cycle is, in my opinion, the best of all time.
My first musical experiences took place outside the scope of my memory. I’m told that my mom played classical music recordings while I was still in utero. And since my first years of postnatal life, classical music has been a regular fixture in my home. The first piece of classical music I specifically remember hearing was Chopin’s Valse brillante, Op. 18 in E-flat major. At that age, I saw the word “brillante” (“brilliant”), and my mind immediately connected it to the idea that this music was very “smart.” Of course, nearly 20 years later, I realize at a much deeper level just how “smart” this music really is.
At the piano, I have two pet practicing methods that I apply regularly. First, I play the music slowly, without pedal, but with the same musical inflections that I would use in a performance. Second, I play the notes of the music almost entirely with finger staccato. The first method allows me to lock in a certain expressive scheme that I use both as a guide and a point of departure during concerts. The second method builds finger agility and endurance and also promotes a good basic touch, which is essential for producing a mellifluous singing tone.
I have had the privilege of working with many of the world’s finest teachers and musicians, and I have learned a great deal from all of them. But I think my most influential musical mentor would have to be the one who got me started on piano in the first place — my first teacher and my friend, Brian Hammons. He has a real knack for teaching the student, rather than teaching piano. Somehow, in the midst of showing me how to read music and how to play scales, he found a way to impart to me a love for the instrument. He nurtured an enthusiasm for the piano that buoyed me through later periods of more demanding training that would otherwise likely have discouraged me from pursuing music as seriously as I have. I will remain grateful to him for the rest of my life.
🎹 Full article here.
