Most of us tend to focus on the things that didn’t go so well in a performance – the misplaced notes, the smudged runs, the memory slips. Analysing why these things happened and exploring solutions to problems or finding ways to “future proof” our music for the next performance are important aspects of the “practice of practising”.
When a performance goes well, we might simply shrug and say “that went well” and briefly bask in the inner glow of success, the satisfaction of a job well done before moving on to the next task and preparing for another performance.
Reflection and critical self-feedback are important aspects of the process of learning and practising, and being able to pinpoint why a performance went well is as useful in the process as identifying and rectifying problem areas.
In early December 2017, I took part in a really delightful concert at the home of Neil Franks, chairman of the Petworth Festival. I had been invited to join him and two other pianists to play music for 2 pianos/8 hands, 6 hands and some solo works. Potentially, this was a nerve-wracking situation for me: I had given only a couple of public performances during the year and felt slightly out of practise as a performer. Added to that, I had to learn the ensemble pieces in a matter of a week, I would be working with people whom I had not met before, on pianos I had never played before. Ok, this was not the Wigmore Hall, but my naturally perfectionist nature wanted to ensure I was well-prepared for the concert so that I did not let down the others and played to the very best of my ability.
As it turned out, the concert proved to be the best thing I have done, musically, since I returned to playing the piano seriously about 10 years ago, and the entire evening was hugely enjoyable and rewarding for all sorts of reasons (read more about the event here). I was on such a high after the concert, I couldn’t sleep that night and spent the entire train journey back to London from Sussex the next day alternately grinning and admiring the lovely flowers I was given at the end of the evening. The following Monday, I had coffee with a pianist friend, and she asked me about the concert – had I been nervous and if so, how did I handle my nerves? What did I play? And – and this is important – exactly why I felt my performance had gone so well. “I really couldn’t say,” I replied. “It was just that it was all perfect!”.
I’ve subsequently allowed myself some time for proper reflection on the performance and drew some useful conclusions:
Choice of repertoire – I selected solo miniatures (works by Peteris Vasks, Chick Corea, Benjamin Britten and William Grant Still) which I knew well (apart from the Corea, of which more in a subsequent post), and had performed several times before. I spent quite a lot of time at home deciding in which order to play the pieces to create the right sense of flow, connection and atmosphere in my solo performance, for the audience and myself. Above all, these are all pieces which I absolutely adore and always enjoy playing.
The other pianists – highly capable, enthusiastic, intelligent, kind and supportive during our rehearsals, and positive in their feedback. The sense of a shared experience and mutual cooperation was so important in creating a really fine concert.
Ambiance – playing a beautifully set up Steinway B in Neil’s lovely country home, with views across the downs and friendly labradors wandering in to see what we were doing, undoubtedly helped take the edge off any performance anxiety
The audience – warm, friendly, enthusiastic, and very generous in their comments, both during the interval and after the concert.
Of course it is not always possible to have such a perfect combination of circumstances to enable a performance to go well, but we can try to go some way to recreating them each time we perform. This is something the Polish pianist Piotr Anderszewski says he does to allay his own performance anxiety: try to recall the positive feelings of a previous performance that went well and use this to build confidence and positivity about the next performance. To this I would also add playing repertoire in one which feels totally comfortable (not only have you prepared it carefully but you also like it). Above all, try to enjoy the experience – because sharing music with others is a truly wonderful thing to do.