Glenn Gould photo: Don Hunstein/Sony Music
A few days ago a very good friend of mine called me and asked for a small favor. Among friends it is not even a favor, it should be a natural way to help out in our profession. He is a pianist, that has a pretty active schedule giving concerts, internationally. Russia, Hungary, Serbia, Italy, Spain, Austria... all these just in some recent months. I asked why not take a walk together, we live just 10 minutes one from another, but he was overwhelmed. He was listing me all the pieces he has to play next week, and I have to say, it is an impressive list of works. Liszt, Chopin, Mozart, Piazzolla, Bach, and I don't remember more. One of the works he mentioned was Bach's Keyboard Concerto in D minor. He needed help with this one, so the favor he asked me was could I listen to him, correct, and give my advice. Like giving a piano lesson, but to a friend. But, it is a bit strange when you give a lesson to someone who is at a higher level than you.
However, what is important when we give someone a piece of advice is that we have to be good listeners. Objective and open, first listen and then speak. The same with music, but of course, to give some professional opinion and correct the other, we have to know the piece very well. So, I decided to do my research for this lesson and prepare well my part. We agreed about that Bach concerto, as I will not have time to listen to the whole repertory he has to prepare.
My learning process started with searching for remarkable performances of that concerto in D minor. In the ocean of many, of course, some big names appeared, like Sviatoslav Richter, Glenn Gould, Maria João Pires... Oh, Gould! Exquisite, though opinions are divided about his playing. I must say, I love that Glenn guy, so I may not be so objective towards his art!! Anyway, he will take the lead later in this post. I love also the performance of Maria João Pires and this interpretation will probably be my reference when I go to my friend's house and listen to him.
Video source youtube
The tempo at which she plays is the most acceptable, that is, most of us have played it that way. It is an established version if we can say that there are established versions. Also, her excellent sense of style and subtle appearance is something that gives her the value to stand at the top of the elite. Apart from excellent dynamics and technique, and grace while playing. She is exceptional in all that she does, indeed!
However, not just to refresh my memory with this beautiful performance coming from Maria, I also watched how it would be played on the harpsichord. Found a player, I have to be honest and say that it is the first time I am listening to him. My first impression was hardcore music hahaha. (sorry again for the tag @stortebeker ). Faster than we play this on the piano, this Jean Rondeau gives special energy to it. But I will not recommend my friend to play it this way. First of all, because it is a harpsichord style and my friend will play on the piano. Ok, I dont know who will be the director of the orchestra he will play with, it also depends on how they agree on the concepts and tempi.
Video source youtube
As I promised, Glenn Gould will take the lead of this post in one moment... and that moment has arrived now. He did take lead also in some of the lessons I had back at college. Among many subjects, we had History of pianism, where our teacher, who was a bit strange person, enjoyed explaining all the details of the playing styles of different pianists. When he was teaching about a pianist from the time where audio recordings were already available, he would have an arsenal of tape cassettes with recordings. That was the case with this Canadian pianist too, Glenn Gould. He was transmitting us all his knowledge and excitement towards Gould, however with a note, that we should not play like that pianist. At least, while we are students. The reputation of the pianist class at our college should not have been damaged in academic circles. But, what he did very generously is that he played many of Gould's recordings. In his lessons I learned that Gould was singing while playing, that had a special piano chair, and a completely different posture while playing. Also, that he had some social phobia and had a kind of autism with extraordinary sensitivity to sensory stimuli. Not any less, Glenn Gould was routine obsessed and a bit of a pills-taking addict.
Glenn Gould photo: Don Hunstein/Sony Music
Glenn Gould was a specialist in bringing and articulating in a detailed way the contrapuntal texture of Bach's music. He didn't like to play romantic piano literature, but apart from Bach, he played music written by Mozart, Haydn, and pre-baroque composers. From the 20th-century composers, he liked to play music by Hindemith and Schoenberg. A genius that started as a child prodigy and had concerts, fame and all, but imagine this: when he was 31, he decided not to play on concerts anymore. He focused on studio recordings, polishing them until perfection. What is also important is his mental capacity and his way of mental practicing. He died relatively young, at the age of 50. Here comes the first movement of this Keyboard concerto in D minor played by Gould, with Columbia Symphony Orchestra; conductor Leonard Bernstein.
Video source Youtube
A very interesting video by Bernstein could be seen here, where he explains how Bach wrote his music without many written details on how to play those notes. Although it doesn't mean it can not be played expressively and with dynamics, and personal touch. That is where Gould is the expert, giving his so specific and outstanding signature, maybe never seen before. Like it or not (well, I already said I do like it a lot) this Canadian eccentric pianist made a huge step in pianistic history, with all his personal approach. Should we stay in the average way of expression of life things and art, or take a step into the unknown? I really recommend watching the following video to have a better understanding of how Glenn was. After the interesting speech of Bernstein, the music starts at around minute five. Don't miss it.
Video source youtube
Well, in the end, I dont know which one of these performances will be my reference. First I have to listen to my friend, to have a better picture of his viewpoints and way of expression of this piece. It is an important aspect, as when we teach children, adults, of friends, the personal touch of the pianist is crucial and should not be taken away. Of course, it is not applied just for pianists, it is important in all professions, expressions, writings, and connections.
If you feel the call, you can let me know which one of these videos did you like the most and why.
Here is a thought on Bach and all the others that didn't give directions on how to play: Maybe these composers wanted many different varieties to be played, leaving a part of the 'final' art to those that are playing the piece? And/Or maybe these composers wanted to give a more in-depth task to the conductor, something more to do than making sure everybody is playing their part in the way intended by the composer? I think I shared with you this Canto Osinato piece before. The composer of that one intentionally (we know this since this was voiced) created a composition that left the way of playing to those who plays and conducts. If that is the case for Bach, I don't know. But if Bach intended for his compositions to be interpreted in different ways, the result is that there are infinite ways of playing. Some may be good, some not so good and some may be outstanding. I guess it'll be a forever search for the 'best' performance. Personally, I would love it when Bach intended all of this. It keeps the performers busy for an infinite amount of time to try and seek yet another interpretation. From a marketing perspective this may be a great way as well, since when allowed to leave the way of performing a piece in the hands of the performers (not prescribing what they shall do), performers may favourite these pieces over those that are completely described how to play them.
BTW, I truly believe one can give advice to those who one considers to be on a higher level of some craft. In the Dutch language, we have this saying: "De best stuurlui staan aan wal". It says something to the lines of: " The best captains are at the shore". This saying tries to state: Those who don't know the craft shall not try and direct others who know the craft. Well, that may be true for some. But I have the believe this saying is not correct, at least not for everyone and not in all situations. I'm convinced you'll be able to help your friend, and I'm even more convinced your friend will be super happy with your reflection about his work :)
I agree with you, composers that didn't write too many details in the scores, left more freedom on how it should be performed. Of course, the text is what can't be changed (ok, should not be changed, if we do not talk about improvisation bass parts of some baroque compositions and contemporary classical music from the last century where the composer asks for the changes and free interpretation and improvisation), but the dynamics and tempi are left to the performer to choose. Although, there are some, let us say, established esthetic regulations, there are no two performances that are identical.
Yes, I remember the Canto Ostinato and the beautiful video that accompanied it. For me, the visuals were the same important as the music in that case, but I am aware that there are moments that just the music part should be listened to - with closed eyes ;)
This advice thing, it is possible, yes, because one can hear and feel what is good and nicely articulated, but maybe is not able to reproduce it because of different conditions (lack of time to practice, not enough developed technique for a certain piece or simply an injury to the playing apparatus).
Robert Schumman, although he was a good pianist once, at some point he couldn't anymore play technically demanding pieces as he provoked ( or just made worse) the injury of his hands experimenting with a device, a tool, to improve the strength in his fingers. Well, it didn't work out... so he tried other remedies and treatments too, all finished unsuccessfully. A great musician, composing a huge opus of piano music and not being able to play them. His wife, Clara was the one who played, but when the marriage showed its end, poor Robert finished mentally destroyed too. I think, the composer I feel most sorry about is exactly Robert Schumann.
Thanks for the encouragement, and it is that indeed, every time we helped out each other in this same way, it was good. Actually, it is not easy to play just to one person, to someone who is there to listen actively and say some honest opinion. So, even if I don't say anything, no a word, it is a perfect exercise of the nerves ;D
So you call my comment: Post-like length? Hahahahahaha
Visuals can help the experience of the music listened to, but my preference is to listen with full focus and eyes closed, ie without visuals. That's for me the only method to really understand if I like what I hear, or not. Also, it is for me the best way to get at least close to a meditation experience...though I never practised proper mediation, so what do I know :)
What a sad story about Robert Schumann.
NJOY the advise sessions :)
There are posts with less then this amount of words 😅 (this comment, not the previous one).
So, a kind of focused listening and giving sound the absolute priority... it helps to determine if those are quality sounds or just sounds :D
😂😂😂
There are comments using only emojis 🧐 and even this way, it is still longer than a post I saw yesterday :
0 min of read
0 words
plus + some photos..
🤣
😂 😂 😂
oh, this is certainly something I'll have to come back to! Sorry, I didn't get to listening to the pieces you posted, just glanced over your article a bit. But thanks of thinking about me! Hardcore Harpsichord...? Sure, judging from the guy's looks, hehehe! But then again, with his beard and scruffy haircut he could just as well be Hillbilly Harpsichord. In either case, I'd be all over it. You remember way back when we talked about The Clash on that instrument? I know, judging from your text, this won't be that kind of extreme crossover, but still I'm looking forward to listening to that piece... probably this afternoon.
Hahha, not that style of a crossover, I was just joking because he plays it fast and with energy heehhe. No worries, it is posted here now, and once you really have no better work to do, you will listen to it :) I used the tag as I knew you would find an interesting sound in that video 😇
Oh hardcore yeah! I just listened to the first two clips you posted, to get an idea in comparing them. The one by Jean Rondeau sounds quite powerful indeed. But you know what I like most about it? It's not the harpsichord as much as the strings (especially the bass)!
Oh, yes, strings, all those fast changings, the movements that never stop... and in combination with a harpsichord! Bach rocks, right?! 🤘
Seems like a fair thing to do to ask a colleague for advice while doing something that feels overwhelming. Especially, in the case of music. Having another perspective helps us ease into repertoire that's challenging and also offers important feedback about things to get better. I'll try to listen to some of these interpretations. I like the whole summary and facts about each one of them. Those hands aren't only for piano, but do a great job writing as well. Missed coming to your posts. But it wasn't entirely my fault. 😅
I think one should try to learn to play in a way that pleases oneself. A recognized Cuatro player and composer on Traditional Venezuelan Music once gave me that advice. He said "If you're willing to spend time learning to play, do it in a way you find it interesting. Challenge yourself to become better in your own accord." I guess that's the way it goes around with any genre of music. But I bet in classical music it is sort of a complicated thing to do. I don't know much about how it works, but my educated guess is that there are conventions and other treaties to explain how a player should perform according to the music they are playing.
The closest reference I can use for this is an example of singing Gregorian Chants. One is supposed to make melodic lines flat without any vibrato. Something that is very difficult to do with your voice, but it is the style of that kind of music.
Yes, it is having a feedback, but even if I would not say many things, just being able to play in front of someone who he knows well can help. I don't know if I wrote this well 😅, it's like a good rehearsal before a performance to a lot of people.
Aw, bertrayo, thank you for your nice words 😇 My hands follow some commands that my not so great mind gives them, sometimes successfully, and many times not so successfully 🤣 Great you could come, finally some internet that you have 🤘
You have received a nice advise then, Challenge yourself to become better in your own accord is a great one. 👌
Oh, I got this alright. Yes, easing oneself before a concert is also important. I bet there's a lot of stress going on with all the preparation.
Hey, you do some great things. That coordination is a sign of a great mind. And yes, it's good to have internet! 😅
It is a great thing. Though I must say it's hard to keep up with making instruments and playing them. Both things seem to be a bit on the opposite side of the spectrum, but I also think it's a thing I need to get used to.
I suppose we should hear something from you playing, it has been a long time without that... ;)
I was preparing something before the whole internet deal. A video is up to come, but it isn't anything fancy.
I'll see if I can get something more interesting.
It must be overwhelming but at the same time a nice challenge to have someone you respect a lot ask you for help or music advice, even more so taking into account those high musical levels that we perceive in this publication.
This experience you have told us about has been really entertaining and exciting to read. Take care dear!
Well, I do respect that friend of mine a lot and he rocks in his piano playing and concerts schedule, but after all, we are friends and from the same profession, so it is kinda natural. We have been listening to each other and giving tips on how to play for a long time now, and I can tell you, it always helps. Though, it is a bit more difficult than playing for a stranger :)
👍
;))
Resteemed, your post will appear in the next curation post with a share for you!
Your post has been supported and upvoted from the Classical Music community (Subscribe at peakd) as it appears to be of interest to our community. We also support jazz and folk music posts!
If you enjoy our support of the #classical-music community, please consider a small upvote to help grow the support account!
You can find details about us below.
The classical music community at #classical-music, Peakd and Discord. Follow our community accounts @classical-music and @classical-radio or follow our curation trail (classical-radio) at Hive Vote!
Thanks 😊 ✨✨