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On leaving and returning to familiar repertoire

240_f_103173724_1wrksn0coxd91de5mebzkmiywytpkm1cI’ve recommenced work on Schubert’s penultimate piano sonata (D 959 in A), following a few months’ hiatus due to family health issues, during which I was unable to give the music my full and proper attention. Regular readers of this blog will know (along with my husband who works at home and hears me practising every day!) that this sonata has become something of an obsession for me since I embarked on a study of it in autumn 2014 (read more about this here.)

This is not the first time I’ve taken a break from the sonata. In the immediate aftermath of receiving my (disappointing) diploma result last September, I wanted nothing more to do with the music. The score was consigned to the back of the bookcase in my piano room, firmly hidden away. I needed time away from the music, to reflect and regroup. At the time, I wasn’t sure I ever wanted to go near the piece again, but as a pianist friend of mine pointed out, “You just need to let it ‘marinade’ for a few months“. And gradually during that marinading process I found myself returning to my books and articles on Schubert, to listening to his music again, absorbing new details, new thoughts about the sonata, allowing his distinctive, highly personal idioms to seep into my musical consciousness.

Some works reveal their subtleties, depths and complexities more slowly than others. This is certainly true of Schubert’s music which has so many details to be unearthed and explored that one cannot expect to cover all of them in one go – nor even two or three. Rather like the layers of an onion, these details are peeled away over time and through repeated “returns” to the score. For example, in my latest work on the sonata, I am finding more interesting bass details and inner voices/instrumental lines to be highlighted. Whether these details will find their way into a final version, I cannot say, but the process of exploration definitely throws light on other aspects of the music and throws up new ideas for consideration.

 

Another satisfying aspect of returning to a piece after a rest is finding that certain passages which previously seemed intractable or particularly challenging can now be played with ease and suppleness. This may seem curious, since one has spent weeks not practising the music at the instrument, but it strikes me that one needs time away to allow technical and musical details to embed in one’s mind and fingers. A rest also encourages one to practise differently: I have found myself returning to very simple practise in some areas of the work, stripping the music back and then rebuilding it.

When working on very complex repertoire one can reach a state of saturation where it becomes impossible to take in new ideas, nor even process existing ones. At this point, you may find yourself making silly or careless errors – this is usually the time to put the music aside and give it, and you, a rest.
There is plenty of useful work to be done while the music is resting – listening, reading (both score and books/articles about the music and composer), thinking and reflecting. If, like me, one is focussing on one specific composer or work, “listening around” the work in question is always helpful, in my opinion. I have a very large Spotify playlist of late music by Schubert, including string quartets, the ninth symphony, songs and other piano music, in addition to some works by Beethoven which have a connection to the Sonata I am studying. And of course while some music is resting, other repertoire can be explored and enjoyed. In fact, I find playing music which seems almost diametrically opposed to Schubert (20th century minimalism, for example) incredibly refreshing, allowing me to return to the Sonata with renewed enthusiasm.
There is such a thing as “over-practising” (though some students don’t believe me when I tell them this!). Over-practising can kill a piece of music, as we become complacent about the work and inured to errors, which are then very difficult to erase. Over-practising can also lead to boredom, which can make us careless in practise, and can cause injury which may leave us unable to play for weeks or months. Then an enforced rest from the music and instrument may be necessary, though one can still continue with work away from the keyboard as described above.
When I recommend taking a break from the music to students, they usually exclaim that they will “forget everything” when they return to the music. In general, this is not the case. Music which has been thoroughly and thoughtfully practised and is well learnt remains in the brain and fingers and can be brought back to a good standard very quickly. Returning to a work after a rest can be a wonderful experience, like reacquainting oneself with an old friend, while also making new friendships.
A work can never truly be considered ‘finished’ and thus resting and returning to the same work many times becomes an ongoing study. Often a satisfying performance of a work to which one has devoted many hours of study can be said to put the work ‘to bed’, but only for the time being. Rest the work and return to it, and suddenly new things come to light, informed by our reading, listening, life experience, and so forth. American pianist Bruce Brubaker, in his sensitive and thoughtful blog Piano Morphosis, describes this as a process of “continuing”. Thus, one performance informs another, and all one’s practising and playing is connected in one continuous stream of music-making.

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World-renowned Russian conductor Valery Gergiev has invited young British pianist George Harliono to perform with him on 5th August in Vladivostok, Russia along with his Mariinsky Orchestra.

Gergiev, Chief Conductor and Artistic Director of The Mariinsky Orchestra and former principal conductor of the London Symphony Orchestra, is set to mark the 135 years since the birth of Igor Stravinsky with a series of performances for the II International Mariinsky Far East Festival in Vladivostok.
Two days of the 30-day festival are devoted to Sergei Rachmaninoff’s most famous compositions, and Gergiev asked Harliono to play Rachmaninoff’s Piano Concerto No.2 with the Mariinsky Orchestra on the Primorsky Stage of the Mariinsky Theatre. Harliono will be featured in the festival along with some of the world’s highest acclaimed performers including Covent Garden’s prima ballerina Natalia Osipova and Russian soprano Albina Shagimuratova.

Harliono, 16, who was born in Hackney, East London now lives in Fen Ditton near Cambridge and studies with Professor Vanessa Latarche, Chair of International Keyboard Studies and Head of Keyboard at the Royal College of Music in London. He also travels regularly to Switzerland to work with his mentor, renowned pianist professor Vovka Ashkenazy and his father Vladimir Ashkenazy.

Of the surprise opportunity Harliono said ‘It is such an honour for me to have been asked to perform with Maestro Gergiev, he really is a world class conductor and I can’t wait to meet him.’

Harliono began studying piano at age six and performed his first one-hour-long solo recital at age nine. Since then he as performed in some of the world’s best known classical music venues including The Royal Albert Hall in London, The Chicago Symphony Centre in the U.S., and The Grand Hall of the Moscow Conservatory in Russia.

Harliono has been accepted to enter The Royal College of Music for a BMUS degree on a full four-year scholarship commencing in September. At 16, he will be one of the youngest students to be accepted onto this course.

The young man is really making a name for himself on the international stage and has a busy schedule with upcoming engagements that include performances with the Tchaikovsky Symphony Orchestra conducted by Vladimir Fedoseyev, the Carolina Philharmonic in North Carolina, USA conducted by David Michael Wolff and Orquesta Provincial de Santa Fe in Argentina conducted by Walter Hilgers.

(Source: press release)

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Enrique Granados ( 27 July 1867 – 24 March 1916) wrote piano music, chamber music, songs, “zarzuelas”, and an orchestral tone poem based on Dante’s “Divine Comedy”, but it is his piano music for which he is best remembered and revered today, and his “Goyescas” suite for piano, premiered in 1911, is one of the cornerstones of the concert repertoire. Inspired by paintings by Francisco Goya, the individual pieces in the suite have evocative titles (“The Maiden and the Nightingale”, “Conversation at the Window”, “The Ballad of Love and Death”), and are deeply romantic, impressionistic and atmospheric in character. Granados admitted to having fallen in love with Goya’s work “the psychology…..and his palette…his quarrels, loves and flatteries” and his reflects his love of the artist’s oeuvre in his lyrical and passionate music.

Listen to the playlist here

(not avaulable in the US and Canada)

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Who or what inspired you to take up composing, and pursue a career in music?

I came to composing by a rather unusual route. I was studying cello at Birmingham Conservatoire and during a musicianship course was asked to compose a piece in the style of Bartok. I quickly realised how much I had enjoyed doing this and within a few weeks had an interview to change onto the composition course. In the following couple of years I became familiar with Mark-Anthony Turnage’s music and this inspired me to keep going and find my own voice. Two years later, after accepting to teach me for my Masters Degree at the Royal College of Music, Mark continued to inspire me, this time in person.

Who or what were the most significant influences on your musical life and career as a composer?

My family have been the most significant influence. Without their continual support and understanding I am sure I would not have a career as a composer.

What have been the greatest challenges/frustrations of your career so far?

I find the greatest challenge to be balancing my time between composing and all the other things a composer must do to maintain one’s career. Being able to do this successfully whilst still finding the concentration and imaginative space one needs should not be underestimated.

What are the special challenges/pleasures of working on a commissioned piece?

Imagining the sound of the musicians and the process of working together with them on a new piece is something that I find incredibly motivating since this is a highlight of the whole process. When the ideas are flowing, I find the working process of composing very pleasurable.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

Building a long relationship with a particular ensembles make the experiences of working together all the more pleasurable. Birmingham Contemporary Music Group stands out for me in this regard. I got to know the ensemble and organisation as a student, received opportunities to develop my compositional voice through working with them, and continue to have a strong relationship now in my career as a professional composer. Their virtuosity and brilliance makes every encounter special.

Of which works are you most proud?

When I achieve something in a piece that is ‘new’, adventurous or challenging for me, that is when I am most proud.

How do you work?

I start composing first thing and work through until I feel my concentration diminishing. I work with pencil on paper for much of the process, moving to Sibelius when I feel I have enough of an idea about the piece. I use a keyboard and sometimes my cello too, especially to try things out later on.

Who are your favourite musicians/composers?

My friends. I find nothing more enjoyable that hearing and watching a friend perform or a friends’ music being performed; feeling their sound, expression and interpretation, each time knowing them a little deeper.

What is your most memorable concert experience?

My Proms debut in 2012 with ‘At the Speed of Stillness’. I’ll never forget the feeling of standing on that stage for the first time to take a bow.

What do you consider to be the most important ideas and concepts to impart to aspiring composers?

Write the music that you want to hear.

And performers?

Play music that is being written now, before it is too late.

Where would you like to be in 10 years’ time?

Somewhere unexpected.

The composer Charlotte Bray has emerged as a distinctive and outstanding talent of her generation. Exhibiting uninhibited ambition and desire to communicate, her music is exhilarating, inherently vivid, and richly expressive with lyrical intensity. Charlotte studied under Mark Anthony Turnage at the Royal College of Music and previously under Joe Cutler at the Birmingham Conservatoire. She participated in the Britten-Pears Contemporary Composition Course with Oliver Knussen, Colin Matthews and Magnus Lindberg, and at the Tanglewood Music Centre with John Harbison, Michael Gandolfi, Shulamit Ran and Augusta Read-Thomas.

Read Charlotte’s full biography

(picture © Michael Wickham)