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The ‘Wolfie’ piano app (named after who else but Wolfgang Amadeus Mozart) offers students and teachers an interactive and supportive learning tool using up-to-the-minute score-reading software plus a whole host of other features.

Developed by music tech company Tonara, who first launched an interactive score-reading app back in 2011, the team behind Wolfie appreciate that piano practise can, at times, be lonely, dull, repetitive and disheartening. Teachers expect their students to practise between lessons as regular practising is proven to bring noticeable progress, and there can be nothing more dismotivating for student and teacher to have to sit through a lesson going over all the same things as last week. Through interactive, colourful features, Wolfie makes practising fun, young piano students feel supported and inspired, and teachers can set targets and track the progress of their students (this feature is available with the full, paid version). Children today generally love technology and many are very comfortable with using a tablet or smartphone. Wolfie taps into knowledge: the app looks like a game, but it also offers an intelligent learning environment for children of all ages. In effect, it provides a bridge between the old-fashioned paper music score and 21st-century tech. Download the app here here

The most significant feature in the app is the ‘Magic Cursor’, which follows music being played by students in real-time on the score itself (in effect, the app “listens” to the student playing, via the iPad’s microphone; this also provides the option to record oneself playing). The magic cursor (whose colour can be customised according to your preference) enables students to really focus on the music, encouraging notational and rhythmic accuracy, and improving sight-reading skills. The magic cursor works with any level of music (though it is less consistent in more advanced music) and because it “listens” to the music as it is being played, it is sensitive to tempo changes. As the magic cursor tracks one’s progress through the score, it also turns the pages, avoiding the need for additional devices, such as bluetooth page turning foot-pedal. There is also the option to listen to the piece being played (in a rather expressionless MIDI format, but useful nonetheless), and a synchronized recording feature allows the user to simply touch the relevant note in the score to advance playback to tricky passages. For those who prefer a visual cue, integration with YouTube allows you to see and hear the music via a selection of videos, including performances by famous pianists such as Daniel Barenboim.

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Alongside this, users can make recordings of themselves playing, which can be shared with teacher and others. The app also gives instant feedback to the player on fluency, pitch, rhythm and tempo, with cheerful emoticons and motivational statements, and awards badges for time spent practising, dedication and completeness. There is also an option to “challenge a friend” by issuing an email invitation to download the app and join in the fun. The attractive, easy-to-use layout of the app makes it enjoyable to use, and if practising is fun, children will more readily engage with it.

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From a teacher’s point of view, the app offers positive reinforcements to encourage students to practice more, and teachers can track their students progress via the app (by adding students to their account).

The app has its own music store from which a wide variety of music can be downloaded and played, all using the magic cursor and other features within the app, including an adjustable metronome. There are popular classics, exercises, pop songs, jazz standards and film soundtracks, and all the scores are organised by level from ‘First Steps’ to ‘The Master’. Once downloaded into the app, scores can be annotated. You can also upload your own scores (in PDF format), though these will not work with the magic cursor.

In addition to all of this, there are helpful guides and a video tutorial on how to use the app. I’ve really enjoyed using Wolfie myself, and also with some of my students, who gave it a very positive endorsement and deemed it “a lot of fun”!

Wolfie for Piano is available to both teachers and students in one-, three, nine- and twelve-month subscriptions beginning at as little as £3.75/month.  A free trial version allows potential users to try the app before committing to purchase. Requires iOS 7.0 or later. Compatible with iPad.

For more information, visit www.wolfiepiano.com

 

(This is a sponsored post)

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This post by conductor Kenneth Woods set me thinking about how we engage with concerts in the 21st century. There was a time when we would speak of going to “hear” a concert, but today, in our image-conscious and visually heightened times, we tend to “see” a concert as well.

The concert hall is like the theatre, and the performer the actor on the stage. And for the audience, a concert is both a visual and aural experience – we listen with eyes as well as ears. Today audiences are likely to be as much concerned with what they see in performance as what they hear. But surely the sound of the music should be enough? Sadly, this isn’t the case and what the performer looks like, how they behave on stage, and what they wear has almost as much, if not more in some instances, bearing on the entire performance. I know of promoters, for example, who will only engage “good looking” or attractive artists, and if you don’t fit into what is currently fashionable you may not get as much work.

It shouldn’t matter what performers look like, but in our visually-aware times it does. Because isn’t it nicer to enjoy music played by performers who are easy on the eye as well as the ear? I freely admit to spending an entire recital by Angela Hewitt admiring her gown, and let’s not forget the furore surrounding Yuja Wang and “that dress” and “those shoes” at a concert at the Hollywood Bowl some years ago.

Yuja Wang (Photo: Lawrence K. Ho / Los Angeles Times)

Of course we want performers to be attractive (no one wants to watch some “fugly“, socially awkward, twitching hairy freak) and attractively-attired. On one level, it indicates that the performance is an “occasion” and concert attire “identifies” the performer for the audiene. It is a “uniform”, a means of differentiating one from the audience and defining one’s role for them. Some performers prefer to go to the other extreme and appear in casual clothing which they feel better connects them with the audience by making them appear “normal”, and that it helps break down misconceptions about classical music being “elitist” or “inaccessible”. One’s concert attire is also dictated by the time of day and venue. For example, I probably wouldn’t wear a full-length evening dress for a lunchtime concert at my local music society, and a man may feel comfortable performing in shirt and trousers rather than a suit and tie.

Once we have got over what performers are wearing, there is a whole other area – that of movement and gesture. Performers use body language to convey the “story” of the music, expressive elements, drama and their own involvement in the music. This is an area of performance which, for me, has far more importance over what the performer is wearing. I believe gesture should serve the music, not obscure it. We have all witnessed exaggerated gestures at concerts – extravagant hand and arm waving, swaying across the keyboard, and gurning as if one has extreme indigestion – and now and then we have wondered what is the point of such pianistic gesticulation.

The physical movements and gestures of the performer not only influence the character and quality of sound but also enhance the dramatic content of the work and “explain” the music to the listener. Music is emotional and expressive – even the most mannered passages of Bach are rich in expression – and the performer’s physical gestures communicate the content of the music being played. Sometimes, these gestures can seem extreme, and when the performer’s gestures get in the way of the music or have no connection to the ‘story’ in the music, it can be frustrating or impossible to watch. But at other times, with the right gestures, the performance is magically enhanced and heightened – for both listener and performer.

Gesture is crucial in piano playing as our movements at the keyboard are immediately translated into sound: smooth, flowing movements will result in a smooth, flowing sound, while prodding or poking at the keys will result in an ugly sound. Gesture should always serve the music – not only in terms of the sound being produced but also in guiding the audience through the narrative of the music. At the end a performer may fling their hands away from the keyboard and the audience will know that the performance has ended and will take that as the cue to applaud. Or a performer may choose to allow their hands to remain on the keyboard, withdrawing them slowly to allow the memory of the sounds to continue to resonate with the listeners. The audience reads these gestures and will (hopefully) know not to applaud immediately.

The spectrum of gesture in piano playing is very broad, from almost complete concentrated stillness at the piano (Marc-André Hamelin, Stephen Hough) to exaggerated flamboyance bordering on the ridiculous. Sensitive performers will adjust their gestures according to the character and mood of the music. I have noticed a trend amongst certain younger performers to use gestures which seem unnatural and contrived, as if they have been “given” these gestures by teachers or mentors, or are trying to imitate another performer. Turn off the sound on the YouTube clip below and consider whether these performers’ movements have any value without the music?

By contrast, the late great Russian pianist Sviatoslav Richter liked to perform in darkness, with only a small lamp illuminating the music stand. He felt that this setting helped the audience focus on the music being performed, rather than on extraneous and irrelevant matters such as the performer’s grimaces and gestures. “What’s the point of watching a pianist’s hands or face, when they only express the efforts being expended on the piece?” he said. And at a concert hall in Bremen, Germany, concerts take place in complete darkness, owing to the venue’s design which avoids light leakage, allowing the audience a very special aural experience without visual distractions.

Further reading:

Telling tails: do special clothes help us to perform better? – article by pianist Stephen Hough

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The operettas of W S Gilbert and Arthur Sullivan are much-loved national treasures, as English as strawberries and cream and tennis at Wimbledon. These light comic operas poked fun at Victorian mores, politics and society, and their sharp observations, dressed up in Gilbert’s “topsy-turvy world” where each absurdity is taken to its logical conclusion, would have been easily comprehensible to their audiences – and remain so today. The operettas have stood the test of time, as evidenced by their enduring popularity, many revivals, and performances around the English-speaking world, and their messages remain witty and topical. The operas have encouraged political debate, social discourse and much pastiche, and the innovations which Gilbert and Sullivan introduced to content and form directly influenced musical theatre in the 20th century.

The Mikado was the most successful of the ‘Savoy Operas’, works which were written to be produced at the Savoy Theatre, built in 1881 by Richard d’Oyly Carte, the impresario who brought Gilbert and Sullivan together. Its story pokes fun at English bureaucracy and social standing, thinly disguised by a Japanese setting in the fantasy city of Titipu, a seaside resort. The narrative and the characters who populate it resonate today, in an era where career civil servants and political mandarins, sycophants and hangers-on appear to hold sway over those who govern us, and at a time where donations to political parties can lead to elevation to the House of Lords and other positions of privilege. All this commentary is delivered with catchy, memorable tunes (The Mikado contains some of Gilbert & Sullivan’s most well-loved songs, including ‘A Wand’ring Minstrel’, ‘Three Little Maids’ and ‘Tit Willow’), wit, warmth and humour. Add an attractive set, fine singing and a great chorus, and you have the recipe for a splendid night’s entertainment.

As a child growing up in Shrewsbury, we had members of the D’Oyly Carte Opera Company lodging with us while the company were on tour, and in Birmingham in the 1970s I saw Welsh National Opera productions of The Mikado, Pirates of Penzance and HMS Pinafore. I’ve always enjoyed the clever combination of words and music, the hummable tunes and colourful settings of these operettas, and so when Jonathan Miller’s production of The Mikado first burst onto the scene in 1986, I was keen to see his fresh take on this much-loved story. It’s taken me 30 years to achieve this, and the latest revival at English National Opera did not disappoint.

The curtain goes up on a light bright cream set, depicting a hotel in a 1930s English seaside resort. The setting may suggest faded gentility, but there is nothing cosy about satire, and the production shines an amusing but critical light on political bureaucracy and scheming and the English middle class and their obsession with status. It is Gilbert’s poking fun at our own status anxiety, and the satirist’s talent for highlighting the absurdities of bureaucracy, which makes Mikado so enjoyable for us today.

The costume colour palette is simple, black and cream with tiny flashes of red, and the chorus and dancers are dressed as bell-hops and maids. Richard Suart as Ko Ko (the tailor-turned-Lord High Executioner) steals the show. It’s a role he’s played many times, and it shows in his exquisite comic timing: obsequious bowing and scraping one minute, the next flirting and patting bottoms of maids. His “moment” comes in the great number ‘I’ve Got a Little List’, updated as is traditional to reflect the zeitgeist. Thus, Jeremy Clarkson, Sepp Blatter and FIFA, cheating Russian athletes, David Cameron (with a not-so-veiled reference to ‘Pigggate’) and Donald Trump get a mention.

Nanki-Poo, the young man and “second trombonist” (which provides much scope for comic asides) who is in love with Yum Yum (Ko Ko’s ward, and wife-to-be) was elegantly played by Anthony Gregory with a nice balance between pathos and comedy, while Yum Yum (Mary Bevan) was winsome and coquettish.

Youth and experience were celebrated too in this revival: young conductor Fergus Mcleod was making his house debut on this occasion, while and Robert Lloyd, who made his debut at ENO 46 years ago, reprised the role of the Mikado, tottering and portly in his over-sized cream linen suit.

The evening fizzed along, the singing and drama enhanced by some wonderfully quirky and surreal Busby Berkeley-style dance interludes, and it was lovely to see Jonathan Miller there, cheerfully greeting friends in the bar beforehand, and later taking a bow at the end of the show. The standing ovation was as much an appreciation of that evening’s performance as the enduring appeal of Miller’s sparkling production.

The Mikado continues in repertory at ENO until February 2016. Details here

 

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Who or what inspired you to take up the piano and pursue a career in music?

I have a half brother to thank for this – Luke, who lives in Arizona, or at least he used to, and I’ve only met him once in my life. He came to visit us in Devon when I was younger, and my mother convinced my father to get an old pub piano – Luke is a singer/songwriter and she hoped we would appreciate hearing his music. I did, and I took a particular liking to that creaky piano, began making noises and was soon taking lessons. I don’t come from a musical family, and there wasn’t exactly a fertile scene for it in my hometown, so the desire for a career in music came later, when I enrolled on a music course at The University of Chichester, met some inspiring musicians and mentors, and discovered the breadth and potential of what was out there

Who or what were the most important influences on your musical life and career?

My first major influence would be my first band The Plastic Hassle – which helped me learn how to improvise and write music, play with rhythm and make naïve psychedelic jazz-rock noise, at the age of 15. My first piano teacher had moved to Yorkshire by then and I was feeling a bit discouraged about music so this was a welcome kick! When I came back to classical piano aged 19 I found I had much more to express and ‘something to say’, and I never lost my love of improvisation. Adam Swayne, my teacher at university, switched me on to modern music, and showed me the scope and variety of piano repertoire outside the repressive ABRSM exam bubble. Finally, my teacher at Trinity Laban, Douglas Finch, who has always challenged conventions and collaborated successfully within other disciplines, which is something that became very important to me. There are of course many more influences, but these are the most important!

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

Finding time and a space to practice away from irritable neighbours. Finding other musicians and artists to work with, which is easy enough when you’re part of a big collaborative conservatoire but harder when you’re in the wider world chasing up jobs, gigs, and endless life admin! Organising interesting concerts and events myself, which I would like to do more of, it is a huge investment of time and energy but incredibly worthwhile, and can raise awareness for good causes. I would like to pursue my other musical interests – whether that’s composition, jazz, harmony, learning accordion, or electronic music – but as is known, getting and staying half decent at piano is time consuming enough in itself!

Which performance/recordings are you most proud of?

My debut recital at Chichester Cathedral last year was special for me, so much of my musical development happened in that area, and coming back to perform for an audience of over 500 was quite overwhelming. I’ll be back there on the 8th March next year, excuse the plug. While studying for my Bachelors I was invited to perform the Shostakovich Piano Concerto No 2 with the university orchestra – the support and goodwill from the musicians, conductor and audience, and how it all came together on the night, is an enduring memory. Other than that, I enjoyed putting together a performance of Ravel’s La Valse, arranged for two pianos, with a choreography devised by contemporary dance students at Laban, for the first CoLab festival at Trinity Laban. I got to play some of Eric Satie’s Vexations at 4 in the morning, for a project at Chichester University. The performance, split between all the pianists that the university could muster, had been broadcast online for a good 12 hours prior to this and the music was firmly lodged in my psyche before I dragged myself out of bed to the concert hall!

Which particular works do you think you perform best?

I think it’d be easier to say what I perform badly! I suppose I feel most at home with music of the 20th century, which is very vague, and in itself contains a vast variety. I never tire of exploring whats out there, trying to find out how it all came about, and it’s place in history. Alex Ross can help with this.

How do you make your repertoire choices from season to season?

I try and learn a programme or two worth of new repertoire every season, but then it is also satisfying to come back to something I struggled with years ago and find that I now better understand the music or am no longer wrestling with the technical problems, or I might find a whole new approach to take. A teacher told me that the best performances are of the pieces we learn and forget, then relearn, then forget, then relearn, and by then they are just so well internalised and part of our musical DNA.

When it comes to programming, I try and include a diverse selection from across the four main periods of Western music, but the challenge is in giving it some kind of unifying  thread. My recitals this year are loosely themed around the title ‘Visions & Dances’, with the music grouped around Visions (visionary, impressionistic, colourful, innovative, imaginative pieces, usually of the 20th century and beyond) and Dances (self explanatory), which really means I am able to incorporate all the music I love to play! I find that unpretentious and demystifying introductions can really help ‘sell your idea’ also.

I like to include contemporary repertoire in most of my concerts, not so much the wilfully difficult and obtuse stuff, but experiments in sound by Henry Cowell, Rautavaara, Somei Satoh and Frederic Rzewski have all been memorable for audiences (for good or bad!).

I occasionally start to write a ‘bucket list’ of the music I want to perform in the next year, 5 years, decade, lifetime, but such a list is never finished and can be overwhelming. It’s good to be spontaneous in our selections also.

Favourite pieces to perform? Listen to?

I never get tired of performing Prokofiev – I haven’t yet approached the sonatas but I became hopeless addicted to the Visions Fugitives, the Ten Pieces opus 12 and some of the etudes. There is something very seductive about the expressive language, the kaleidoscopic colours, the hallucinatory changes of character. It seems like this kind of music emerged out of nowhere, from a timeless and intangible place, and I can’t really figure out where it went after Prokofiev departed. I admire the nationalistic, folkloric strain in music at the turn of the century – the Dvorak Slavonic Dances, and of course Brahms’ Hungarian Dances that inspired Dvorak, are pretty much the most fun I’ve had at the piano, and I love Janacek’s piano music.

When it comes to listening that is a very difficult question in the age of Spotify, as there is so much that I have loved, forgotten, come back to – but at the moment I am enjoying the more meditative music of Olivier Messiaen, Morton Feldmann, John Adams, Arvo Pärt. Also anything with a rhythm that makes me stop in my tracks, or want to dance, whether it’s Scarlatti, Villa Lobos, Gershwin or all kinds of electronic and world music.

Who are your favourite musicians?

I have a lot of admiration for musicians that have taken creative U-turns, in spite of achieving a certain amount of success, and turned their hand to different styles rather than play it safe, bringing a new audience and appreciation to other forms – Jonny Greenwood, Scott Walker, Robert Wyatt, David Byrne, PJ Harvey, for example. As far as pianists go I love what Chilly Gonzales is doing, bringing back the somewhat lost character of composer/performer, he is also a formidable improviser, and I recommend you listen to the online snippets from his 27 hour marathon piano performance (he was the Guinness World Record holder for the longest solo performance, but only for a few months!) you’ll be impressed by the variety of music at his fingertips. In the classical world it’s hard not be in awe of Daniel Barenboim at the piano or the podium, Grigory Sokolov for the Romantic repertoire, Martha Argerich in everything she does. Alice Sara Ott has done some really wonderful things with Chopin. They’re my favourites for now. I have to mention Art Tatum and Bill Evans also, for their boundless creativity at the piano, and the music of Charles Mingus never fails to blow me away. Why are all my favourite jazz musicians dead??

What is your most memorable concert experience?

Can I pick a few?

The second time I heard an orchestra was in Ravel’s Daphnis et Chloe, which set the bar rather high. I heard three quarters of Wagner’s Ring Cycle in the space of a week, it was the Berlin Statskapelle conducted by Barenboim at the 2013 Proms, and time seemed to stop for those 12+ hours. I was transfixed by Steve Reich’s Music for 18 Musicians performed by the Colin Currie Group, and Cordelia Williams performing Messiaen’s 2.5 hour Vingt Regards sur l’enfant Jésus from memory, with this superhuman ferocity and passion. I vividly remember when Douglas Finch improvised a set of subversive variations on Christmas themes we’d suggested, in the dark, at a party. There is a German composer called Haushcka who prepares a grand piano by filling it with ping pong balls, contact microphones, E-Bows (magnetic devices invented for guitarists to sustain sounds indefinitely), other gizmos – I expected a load of gimmicks and party tricks but it was quite an amazing transformation. When I was younger I was inspired by some of the modern jazz artists who for some reason came to play in my sleepy hometown of Barnstaple, particularly Seb Rochford’s Polar Bear, and Basquiat Strings, a string quartet of incredible improvisers backed by double bass and drums. When I got a place at Trinity Laban and found some of these very musicians were on the faculty, I was very excited; unfortunately my jazz chops hadn’t really kept up!

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

Despite my philosophical sounding name I don’t have a lot to say that hasn’t been said better already. I went to hear Daniel Barenboim speak at this year’s Edward W. Said Lecture and wrote down loads of quotes I considered important. They’ve been lost since I moved house, but essentially – use music to understand life, and life to understand music, and always impart this to everyone you encounter as a musician and teacher.

Happily the lecture is on YouTube for anyone who wants it in a bit more depth/less paraphrased!

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

In some remote part of the world with some good companions, a piano and just enough free time!