Returning to old repertoire can be extremely satisfying, and one often discovers new things about the music when returning to it after a break. I also recall all the reasons what I like about the repertoire and why I selected it in the first place.
My teacher has cautioned me about reviving repertoire I learnt as a teenager. This is good advice, for despite a gap of over 30 years, all the impetuous errors of youth seem ingrained in the piece and the fingers, and undoing these problems can be nigh-on impossible. Against my teacher’s advice, however, I revived Schubert’s E-flat Impromptu for my ATCL Diploma in 2011, because I needed a “fast piece” in the programme. I had not touched the piece seriously for over 30 years, yet I was pleasantly surprised at how much of it I could remember (it must be said that this is not a particularly difficult piece to memorise, being constructed from repeating patterns and motifs). But working from the old Editions Peters score I had as a teenager meant that all the errors were still there, as well as my then teacher’s annotations. In order to learn the piece carefully, I ditched the dog-eared score and purchased a new Henle urtext edition. In effect, I started again from scratch with the piece: I learnt new fingering schemes, thought carefully about the structure and atmosphere of the piece, and was delighted to have it described as “an assured and stylistically accurate performance” by the diploma examiner. Having taken the trouble to re-learn the work carefully, it is now very securely lodged in fingers and memory.
People often ask me whether it is “hard” to revive old repertoire. In general, I have to say I have found it relatively easy to return to previously-learnt repertoire, though this isn’t always the case (the ‘Toccata’ from Bach’s 6th Partita will take some careful work if I want to revive it). However, one can take steps to ensure that once learnt a piece can be revived and made ready for performance relatively quickly.
Lately, I have been enjoying revisiting some of Szymanowski’s Opus 50 Mazurkas, the first two of which I played for my ATCL recital. The pieces felt different without the pressure of an exam hanging over me, and I felt I was playing them in a freer way as a result. I am also working on Rachmaninov’s G minor Etude-Tableau (Opus 33, No. 8), for my debut in the South London Concert Series in May (the piece will be paired with Szymanowski’s Mazurka no. 1). It is a mark of how carefully I practised the piece in the first place that within an hour of practising earlier today, I felt it coming back together nicely. Of course there are elements that will need some careful, detailed work (the cadenza, for example), but overall, it is still in pretty good shape. Getting it “concert ready” should not take too long.
Professional pianists will have many pieces “in the fingers” which can be downloaded and made ready for performance in a matter of days. This may include 20 concertos or more, most of Beethoven’s 32 Sonatas, many of Bach’s 48 Preludes and Fugues, plus other pieces which are ‘standard’ repertoire: Mozart and Schubert sonatas, works by Chopin, Schumann, Brahms and Liszt, much of Debussy and Ravel etc., and popular ‘standards’ from the 20th Century repertoire by composers such as Messiaen, Bartok, Stravinsky, Ligeti, Berio, Berg, and Schoenberg. Careful learning and preparation mean that repertoire can be learnt, revived and kept going simultaneously. It is this kind of deep, thoughtful practise that is essential for ensuring repertoire remains in the fingers (and brain) even if one is not practising it every day.
Some thoughts on reviving repertoire successfully:
- Recall what you liked about the pieces in the first place. What initially attracted you to the pieces? Rekindle your affection for the pieces when you revisit them
- Don’t play through pieces at full tilt. Take time to play slowly and carefully.
- Trust your practise skills. Be alert to issues as they arise and don’t allow frustration to creep in.
- Look for new interpretative and expressive possibilities within the music. Try new interpretative angles and meaningful gestures.
- Don’t hurry to bring the piece up to full tempo too quickly. Take time to practise slowly and carefully.
- Schedule performance opportunities: there’s nothing better to motivate practise than a concert date or two in the diary.