By |

On Saturday 22nd October, it is Franz (Ferenc) Liszt’s birthday. So here’s a small selection of ‘Liszt links’, pictures, music, film and other ephemera, some serious, some not, to celebrate his bicentenary.

Please feel free to comment and/or contribute more ‘Liszt Links’

Notes from a Pianist – Throughout Liszt’s bicentenary year, pianist Christine Stevenson has been blogging about Liszt in a series of delightful, thoughtful and quirky posts.

From The Musician’s Way Blog – Franz Liszt: Self-Made Musician

Liszt’s favourite pudding, as noted in Alan Walker’s biography The Virtuoso Years 1811-1847

Visit the Cobbe Collection at Hatchlands, near Guildford, Surrey (UK) and see an 1845 Erard, autographed by Liszt’s great rival Thalberg. And many other wonderful pianos and early keyboard instruments with “composer associations”.

Liszt's Bosendorfer piano at the Franz Liszt Museum in Budapest

Website of the Liszt Museum, Budapest

Stories from a Book of Liszts, a novel by John Spurling (with accompanying CD)

A close-up tour around the Liszt Apartment in the Budapest Museum

Read journalist Jessica Duchen’s intelligent article in Standpoint magazine

Wilhelm Kempff playing ‘Sonetto 123 del Petrarca’ from Années de Pèlerinage, 2ème année: Italie, the first piece by Liszt I learnt seriously. (Link opens to Spotify). And here’s a YouTube clip of Marc-André Hamelin playing the same Sonetto

 

Cartoon of Liszt in concert, with ladies swooning before him

Martha Argerich plays ‘Funerailles’

And Louis Kentner plays the ‘Bénédiction de Dieu dans la Solitude’

By |

“If nothing else, Fran, you’ll be the best-dressed Diploma candidate this season!”. So declared a good friend of mine who knows well my love of clothes and who has often been an enthusiastic companion on shopping sprees.

Joking apart, the Trinity Guildhall regulations state that one should dress as if for “an afternoon or early evening recital”. So an “evening gown” is not required, but something pretty smart nonetheless. Long before I’d decided on my Diploma programme, I’d already worked out what I was going to wear: a Little Black Dress from LK Bennett with 1950s styling, demure yet faintly sexy, in a fluid jersey fabric which is comfortable and easy to wear, and low-heeled mock-croc shoes. A small heel is essential for pedalling, while a high heel renders the action virtually impossible.

One of my Twitter friends made a slightly tongue-in-cheek comment to me about a blog post on piano teacher’s attire, so this article is, in part, to satisfy his curiosity, as well as my own musings on what pianists wear.

Yuja Wang at Hollywood Bowl (Lawrence K. Ho/Los Angeles Times)

Recently, Chinese piano Yuja Wang created a bit of a furore amongst critics and concert-goers for appearing in a dress more at home on the fashion catwalk than the concert platform: a thigh-skimming, body-hugging frock and gold stilettos. When I saw the pictures of “that outfit”, my first thought was “how on earth can she pedal in those shoes?”. What occupied the critics publicly was whether such attire was “appropriate” for the classical music scene, while privately many of them were no doubt slavering with delight over the view of a slim young female leg during the 40 minutes or so of Rachmaninov’s Third Piano Concerto. This hoo-hah says something about the perception of male and female artists in the eyes of both audience and critics.

The days of the traditional virtuoso “uniform” of white tie and tails for male pianists are long past, and it is rare to see anyone but the most senior musicians in this attire now (of all the male pianists I’ve heard this year, only Charles Rosen and Maurizio Pollini wore white tie and tails). Lounge suits, open-necked shirts, Nehru collars, silk shirts with diamonté studs (Robert Levin) – I’ve seen them all this season. Paul Lewis, Steven Osborne and Stephen Hough all favour a sort of black “smock” (presumably for comfort?), and Hough is rarely seen without his shiny metallic shoes on the concert platform. Meanwhile, Turkish pianist Fazil Say cut a rather shabby Oscar Wild-esque figure in a black tee-shirt and long velvet coat not unlike a dressing gown.

Angela Hewitt

But while the men are allowed to “go casual”, women pianists are still expected to turn out in a more traditional evening gown, and any deviation from this can be met with cries of horror, the wringing of hands and general pulling of eyes. Some, like Yuja Wang and Angela Hewitt, have made the fashion statement part of their artistic persona: Hewitt favours designer gowns, bright lipstick and red shoes. When I saw her at the Wigmore Hall in June she wore an extraordinary dress with some interesting zip arrangements, not unlike the “safety pin dress” by Versace, famously worn by Liz Hurley, and I confess the zips interested me more than her Chopin. Japanese pianist Mitsuko Uchida likes the finely pleated creations of Issey Miyake, and so, when she raises her arms, a lovely image is created of the gossamer wings of a beautiful butterfly. Helene Grimaud, who I saw at the Proms this summer, chose a stylish, somewhat mannish, grey suit for her performance of Beethoven’s Fourth Piano Concerto.

Fazil Say

At the end of the day, it is of course entirely up to the performer what they wear, but it is also important that their dress reflects the occasion, for the moment the performer walks onto the stage, the audience’s attention is engaged and awakened. Mannerisms, attire, the way one greets the audience, all these things matter, and all contribute to the experience of the performance for the audience, as well as a means of differentiating performer from audience, and defining one’s role for them.

I admit I’m torn between admiring Ms Wang’s chutzpah for wearing such a daring outfit while wondering whether she wanted the audience to focus on her music or her legs.

And as for my Twitter friend’s enquiry about what I wear to teach piano….. I favour easy, comfortable clothes, my Wright & Teague charm bracelets, which chink and tinkle as I play, low-heeled shoes or boots (it gets cold in my piano room in the winter), and some interesting beads, a pendant or a scarf…..

More on Yuja Wang’s dress here

By |

Last week, with a degree of heart-in-the-mouth trepidation, I submitted the application to take my ATCL Diploma exam. Since I have not taken a music exam for……um……….30 years, the prospect is slightly unnerving, not least because I still retain a very strong memory of my Grade 8 exam: the empty room, the big black shiny Minotaur of a Steinway grand piano, the silent examiner, the Bach Prelude (D minor) which if allowed to, might run away like an excitable horse, the sturm und drang Beethoven Sonata (Opus 10, No. 1), and the Chopin Nocturne (also D minor) which I loathed….

The good news is that with 8 weeks still to go until the exam, I feel fairly well on top of my repertoire. The pieces are all learnt, quite a lot has been committed to memory (one is not required to play from memory in the exam), and the work now is to finesse and refine. The danger at this point, of course, is over-practice. My students, most of whom seem to specialise in winging it in lessons and do very little practice in the intervening weeks, look at me askance when I mention over-practising, but it does exist. Famous cases of over-practising include Scriabin, who ended up with a hand injury, something I can identify with. On a less dramatic level, the point at which one knows a piece intimately can be, if you’re not careful, the point at which weird and new mistakes start to creep in. These can be the most difficult errors to unlearn and so it is crucial to practice extremely carefully and thoughtfully at this point.

At the piano course I attended last month, we talked about practice diaries, and the benefits of keeping a very detailed practice diary – not just of how much time one spends practising each day, but also notes on what needs to be done, what has been achieved etc., along with a list of questions, which can be applied to each and every practice session, to encourage one to think very carefully about the repertoire one is working on. Here are some ideas for a good practice diary:

Have I warmed up? For quick warm up exercises see my earlier post here

Am I listening as I play? It’s remarkable how easily the mind can wander when you’re working on a piece that is very familiar. Stay focussed, listen, and be strict with yourself about errors, bumpy, uneven or sloppy sections, lazy pedalling, articulation etc.

Have I noted all the dynamics? Articulation markings? Other signs and symbols? Again, familiarity can breed complacence. It’s worth taking the time to do this detailed work even if it’s a piece you know well.

Am I noting rhythm and pulse properly? Practice with a metronome if necessary until an ‘inner pulse’ is established throughout.

Is my fingering secure throughout? There’s a passage in my Bach Toccata (BWV 830) which gets me every time! Slow, quiet practice (“like a Chopin Nocturne”) can be helpful in these instances.

Am I taking care over phrase beginnings and endings?

And what about shaping, colour, contrast?

Which sections do I need to memorise? For example, for an awkward page turn

Keep a detailed note of how many minutes of practice per piece you have completed each day. Keep a clock by the piano, or use the stopwatch feature on your ‘phone. It’s amazing how this can force the mind to focus, especially if you know you have limited time in which to practice.

What do I need to do tomorrow? At the end of each practice session, make a note of what has arisen out of today’s session and what needs attention tomorrow.

Good luck, and don’t ever let your practice sessions feel like the character in this novel:

Work shaped every hour for him, as regular as a lunar cycle, and the cadence by which he set his life. From the age of sixteen, he had known only this life. Without it, he could feel directionless, without focus. Yet practising, four to five hours every day, practising until you never got it wrong, could be a form of captivity. Often, when he was wrestling with something new and tricky, when the same page of the score confronted him day after day, he felt he did not move forward in the night. Then it really was like prison, though without the punishment, only in the sameness of his days.

(from Music Lessons by Frances Wilson)

And take inspiration instead from Robert Schumann:

So what does it mean to be musical? You are not musical if, eyes glued nervously to the notes, you play a piece painfully through to the end; you are not musical if you get stuck and cannot go on because someone happens to turn two pages at once for you. But you are, if with a new piece you almost sense what is coming, if with a familiar one, you know it completely. In a word, if you have music not just in your fingers, but in your head and your heart.

(from Musickalische Haus- und Lebensregeln)

By |

13 WAYS of Looking at the Goldberg: Bach Reimagined; Lara Downes, solo piano; Tritone Records

Pianist Lara Downes first heard the Goldberg Variations on an LP “as a little girl sitting in my father’s big chair”, played by – who else? – Glenn Gould in his iconic 1955 recording, the same recording my parents had, with the expressive photographs of Gould on the album sleeve. She was, like Gould, like many of us, “transported” by the music, the twists and turns of Bach’s creative process, and Gould’s interpretation and realisation of it.

Inspired by the poem ’13 Ways of Looking at a Blackbird’ by Wallace Stevens, ’13 Ways of Looking at the Goldberg’ is, like the poem, an exercise in “perspectivism”, a “re-imagining”, for each piece makes a nod, sometimes obvious, sometimes more tenuous, to Bach’s original, while demonstrating both the permanence of Bach’s great Baroque work, and its ongoing relevance and fascination today. In 2004, thirteen composers were invited to compose thirteen new variations based on Bach’s original. They are not all classical composers, and they represent a diverse and varied group – as do their interpretations. Many share rhythmic, melodic and harmonic motifs with the original, but each is individual, a short stand-alone work.

Catch a phrase or two of some of these ‘reworkings’ and you could easily believe this was Bach’s own creation in their closeness to the original (Fred Lerdahl: Chasing Gold, William Bolcom: Yet Another Goldberg Variation, Ralf Gothoni: Variation on a Variation with Variation), while others bear more than a passing reference to the atonality of Hindemith, Boulez or Messiaen (Mischa Zupko: Ghost Variation, Derek Bermel: Kontraphunctus, Stanley Walden: Fantasy Variation). And just like Bach’s original, there are stately chorales and sprightly dances. This album is almost a palimpsest of Bach: an imaginative and sensitive layering of new thoughts over the original.

The clarity of Lara’s playing ties these separate pieces together with crisp articulation, tender sonorities and arching melodic lines. To accompany the thirteen variations, Lara Downes includes on the album Bach-inspired works by two great American composers, Dave Brubeck and Lukas Foss, a fitting tribute to Bach and the lasting inspiration of his music. The final track on the album is the sublime ‘Sarabande’ from the French Suite V, BWV 816, whose exquisite simplicity echoes the opening ‘Aria’ of the Goldberg Variations.

For more information, please visit Lara’s website. The album ’13 Ways of Looking at the Goldberg’ is available to download via iTunes.

I am very grateful to Lara for giving me the opportunity to review this interesting and arresting album.

More on the Goldberg Variations here.