Time seemed to accelerate during the final segment of the tour. "Wake up - eat breakfast - hop in the van - dress rehearsal - concert - head to hotel" became the familiar routine. And yet, we found ourselves trying to shirk any sort of musical routine; digging deeper and continuing to discover new and beautiful elements to share with our audiences. Subtleties in timing and dynamics that may have been left to chance early on in the learning process were now significant decisions that could alter the entire energy of the performance. We explored the balance of staying honest with a score and infusing it with our own interpretation.
I'd like to share three aspects of musical exploration that I feel are essential to finding this balance:
As performers, we should remember that the majority of the audience usually does not have a relationship with the pieces we are playing that is nearly as intimate as the one we develop through the learning process. The audience is not looking at scores as we play (thankfully!). They are there to enjoy, feel, and experience the soundscape we convey to them. But, because they get to hear the music that is second-nature to us just once - we must help them connect with it instantly. What a neat challenge and special responsibility!
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A couple years ago, I wrote about one of the challenges we pianists all face: adjusting "instantly" to the piano you are given for your performance. As much as we wish we could bring our favorite piano on the road with us, we have to make do with what we get. Sometimes it's a fantastic surprise... and sometimes it's just a surprise.
There've been a couple challenging pianos on this tour - including an electric piano (please tell me this isn't an indication of the future of classical music!) and a piano with an incredibly heavy action and "dead" upper register (I nearly killed my arms on that one - spent the evening alternating soaking them in hot and cold water). When traveling on a concert tour there are plenty of challenges that pop up: from changes in weather that you may not have anticipated when packing, to changes in the schedule. Flexibility and a positive attitude are "key" to making the most of the opportunity to meet people, experience another culture, and successfully share the essence of your musical program with the audience. Have you ever practiced for 8 hours and wished that you could just keep going for a few more? Looks like I've got your attention. Great! From April 4-25 I'll be touring Lithuania with my family's ensemble, The American Virtuosi. I'd love to share a few highlights from the the first part of our trip. A week ago today, I left my home in New Hampshire and flew to Maryland to start rehearsals with my family. I landed at 2pm. An hour later, I was seated in front of a piano. We stayed in the practice studio 'til almost midnight; though we had each been working on our individual parts, there was a lot of work to do with putting together our ensemble and synchronizing our artistic visions. My face *almost* turned blue (see picture). My eyes did turn a bit red. Sunday... more practicing. Monday morning, we hit the road. Agenda:
So, what did we do after we checked into the hotel and had a bite to eat? We gently asked if we could have access to the music school to practice, of course. I got the concert hall (below) and we each put in a couple hours. Wednesday morning we met the Mayor of Siauliai (pictured in blue suit, below). We talked about music, education, our travels, teaching... and a bit of politics as well (though we tried to avoid the US Presidential race...). After lunch: practicing and after lunch a masterclass for several talented young pianists. On Thursday, we woke up to see a picture from yesterday's meeting in the paper. We practiced and rehearsed most of the day, and then performed our first tour concert. We shared the stage with the renowned Dagilelis Boychoir - and at the end of the concert we played a beautiful selection together: "Ave Maria" by Guilio Caccini. Friday... rehearsals & practicing. Never enough! In the afternoon we were special guests at a national boychoir festival in which they performed their instrumental talents (solo and ensemble). WOW! We enjoyed the recital, and then were invited on stage to close the festival with our selection "Music from Around the World." I guarantee it to be the fastest ticket around the world! Today we almost played basketball instead of a concert. Our performance took place at the Siauliai arena, and our greenroom was box seats above the basketball court. The game started during the concert, so every time we came back to the room we caught a bit of it. Lithuania is known for having great basketball players and it was fun to watch them (believe it or not, this was my first time watching a live basketball game). Follow me on Instagram.com/Girlpianist
Congrats to students who performed at the Powerhouse Mall in Lebanon on Sunday! Also, thank you to Molly Bonhag for sending several of her students to join us. There is so much to be said for literally moving to the music you are learning. You don't need to have training in dance. In fact - it may be better not to (as you can then feel free to do what is natural). Listen, imagine, feel, and just move. Explore the sound, the moods, and the energy. Do it a few times and develop a sense of the structure and start to tailor the movements to the phrasing.
I just started the Poulenc cello sonata this morning (the piano part!). I spent some time practicing it, and then felt a desire to explore it in a different way. My vision for the first movement quickly solidified into an exchange between two moods/characters: a spunky "petite marche militaire" and a graceful, feminine picture of elegance with a tinge of wistfulness. Now, when I go back to playing it, I have a more inspired sense of what I want it to feel like within me as well as how I want to communicate it to the audience. https://www.youtube.com/watch?v=K-f6bUVFKso Life is not about perfection. Music is not about perfection. We live and breathe for the moments of beauty that take us to another place, lift our feet off the ground, allow our hearts to soar. For every moment, there are hundreds (thousands?) of hours and days of work, effort, and keeping your chin up when the going gets tough. Here's my way to expressing this through yoga: https://www.youtube.com/watch?v=-f_aBELYnas
Congrats to Piano Prodigies students who participated in yesterday's recital. The audience loved you!
As I write this entry, I am on a Delta flight from Baltimore to Detroit, listening to a recording of a piece that's on tomorrow night's program with cellist Amit Peled. This work, "Kaddish" by Mark Kopytman, is a powerful tribute to a father and a heart wrenching interpretation of the traditional prayer that is recited by a son at his father's funeral.
Two weeks ago my most influential teacher and mentor, Professor Reynaldo Reyes, passed away at a young 82. I studied with him as a teen, continued on for my undergraduate studies at Towson University, and continued to return to him for guidance in performing and teaching (including bringing him several of my own students). But I've known him my whole life: as a member of the Baltimore Trio, my Mom was his colleague since before I was born. A couple years ago, over lunch at the Towson Diner, he told me that he had no desire to stop teaching so long he was living. "After all," he laughed, "I just keep getting better and learning more, and have more to share with my students!" In April 2015, we celebrated his decades of service to the Towson University community with a gala concert and tribute that brought together his former students from around the world. Though the event was advertised as his "retirement" celebration he continued to teach students at the university and this past January had spent several weeks touring through the Philippines. Certainly, his dedication to music and people was a powerful motivating factor in his life. Though I am still coming to grips with knowing that he no longer here, I am grateful for his incredible influence on me as a person, and as a pianist and teacher. He not only taught young pianists and inspired audiences through his performances - he touched the lives of his students with such genuine care and concern for their total development as humans that has manifested in lifelong gratitude, inspiration, and a legacy that will not be forgotten. He was among the rare breed of teachers who believe that every student is capable of learning anything. He would prove it to each student themselves by helping them learn works that surpassed their greatest expectations, and then laughing as he exclaimed, "See - it's easy!" His genuine love of teaching, exploring music, and overseeing the technical, artistic, and personal growth in his students made him a role model for all who aspire to be a teacher. His impact will live on through his students and carry on long into the future. http://www.legacy.com/obituaries/baltimoresun/obituary.aspx?pid=177783139 I gotta admit it. I'm a super-patient person and teacher, but I do have a few pet peeves. No chewing gum during lessons. Please don't play when I talk to you. And, here's one more: I cringe when I hear (advanced) piano students refer to their piano pieces as "songs."
Although we strive to imitate the phrasing of a singer, there is actually an important distinction between what we refer to as a "song" or as a "piece." This is important in casual conversation (in your lessons with your oh-so-patient teacher, when telling your friends about the repertoire you are studying or performing).. and this is crucial for publicly announcing your selection at a recital, festival, or competition. Here is my (somewhat simplified) definition: A song is written for the human voice and typically has words. A piece is a composition, typically (but not limited) written for an instrument other than voice. In other words, you sing a song, you play a piece. So... if you're learning a really awesome piano piece and want to tell someone all about it, take note of the following: Wrong: "I really love this song I'm learning." Right: "I really love this piece I'm learning." If you are announcing it in a recital: Wrong: "I'm going to play a song called Winter Rhapsody." ALMOST right: "I'm going to play a piece called Winter Rhapsody." Why almost right? Please be sure to always give the full name of the composer, the type of piece, the movement (if applicable), and any identifying numbers (note: "Op." stands for Opus and should be announced with the composition). Right: "I'm going to play Winter Rhapsody by Dennis Alexander." You may also call it a "work" or "selection." If it is a Nocturne or Sonata (or another category of piece) you can announce it as such. Wrong: "I'm going to play a song by Mozart." ALMOST right: "I'm going to play a piece by Mozart." ALMOST right: "I'm going to play a sonata by Mozart." Right: "I am going to perform a selection by Wolfgang Amadeus Mozart. This is Allegro - the first movement of his Sonata in C Major, K545. " Awesome: "I am going to perform the first movement of Wolfgang Amadeus Mozart's Sonata in C Major, K545. The tempo marking is Allegro." Got it? Good. :) Now, for a cool little example of a piece that's been turned into a song. Piano Prodigies student Morgan (age 10) was assigned a piece by Alexander Fyodorovich (FYAW-DAW-RAW-VEECH) Goedicke (GEH-DEE-KEH) that the composer himself called "A Song." I asked Morgan to write lyrics to it. She successfully did so and thus transformed the piece "A Song" into (drumroll please) a... song (that can be sung). Here's the final product. Great job, Morgan! On Sunday, November 22 several Piano Prodigies students attended a performance by pianists Philip Liston-Kraft and Dan Weiser at Dartmouth College. This program was appropriately titled "Two Piano Power" and demonstrated both the solo and collaborative exquisite artistry and acrobatic technique of the two pianists. What a treat!
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AboutElizabeth Borowsky is a pianist, teacher, and composer. She is a Nationally Certified Teacher of Music in Piano (Music Teachers National Association). SubscribeCategories
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