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The UK Masterchef competition for amateur cooks has reached its series finale, won by Ping Coombes, a 32-year-old full-time mother who wowed the judges and tv viewers with her original, flavoursome and exciting dishes inspired by her homeland, Malaysia.

2014 Masterchef winner Ping Coombes kisses the trophy

Throughout the competition, contestants’ dishes were critiqued and judged by “external moderators” in the form of previous Masterchef winners, “celebrity” chefs, including Tom Kerridge and Marcus Wareing, and food critics Jay Rayner and William Sitwell, amongst others, many of whom expressed surprise that a bunch of “amateurs” could produce such classy, technically complicated, restaurant-standard food. When it was Marcus Wareing’s turn to judge the semi-finalists, in a nail-biting round for he is famously acerbic and downright scary, he said of one dish “that is remarkably good – for an amateur” or words to that effect. And after that, every time I heard the word “amateur” on the programme, a little bit of me died.

I have blogged before about the definition of “amateur”. The word suffers, in the English language at least, from its association with the hobbyist, the “Sunday painter” or dilettante, and suggests cack-handedness and lack of finesse or refinement. Things which are described as “amateurish” are usually badly done or poorly put together. Not so these finalists in Masterchef: their dishes showed imagination, creativity, highly-developed technical skills and, above all, love for what they were doing. Ping’s sheer enjoyment and delight in producing delicious food for family and friends was evident from the moment she first entered the competition and remained the abiding theme of everything she did, endearing her to judges and viewers alike.

The debate about amateur versus professional is one that continues to run (and will go on running) in the sphere of music and the arts (and beyond), and particularly within the narrow sphere of classical music. I co-host a piano group for adult “amateur” pianists in which the standard of playing is quite varied, but it must be said that the majority of members plays to an extremely high standard. A number have attended specialist music schools or conservatoire but chose a different career path, not having the requisite temperament to hack it as a professional musician (and perhaps preferring a more reliable salary!). Many of us enjoy performing, and we practise and finesse and perform our pieces with a professional mindset.

In a recent post for his own blog, pianist Stephen Hough gave a perfect definition of “amateur”, citing the Latin origin of the word – the verb amare = to love:

An amateur is not someone who is less good than a professional but rather someone for whom love overcomes obstacles…. (Stephen Hough, 7 May 2014)

This sensible and, to my mind, very accurate description struck an immediate chord with myself and many pianist friends who struggle with the word “amateur”. Those of us who play at a semi-professional level, intermediate players, beginners, returners, “Sunday pianists” all share this profound love for the piano. Eavesdrop on any conversation between members of my piano group and this passion is more than evident as we discuss the myriad aspects of our craft: practising, repertoire, exams, concerts, performance anxiety, favourite professional performers, memorable performances and recordings. The only difference between many of us and the pros is, as a professional pianist friend said to me recently, “the pay cheque”.

The author performing in the South London Concert Series at the 1901 Arts Club
The author performing in the South London Concert Series at the 1901 Arts Club

I take issue with those rather ungenerous people in the music world, and beyond, who suggest that people like me and the other members of my piano group should not be performing in public, nor posting our performances on YouTube or Soundcloud (in the same way as I take issue with “professional journalists” who seek to undermine the value of blogs such as this and many others). It suggests a certain envy or resentment – for we are not trying to touch the professionals, but we might just conceivably touch the audience with our fidelity and commitment to the piano and its music. Sometimes the most hesitant performance can move because the audience knows the amount of hard work, and anxiety, that has gone into preparing for that performance. Playing for one another at piano circles, piano groups and at people’s homes offers a supportive environment to put repertoire before a friendly audience, and many amateur pianists use opportunities like these to prepare for exams, festivals, diplomas and concerts. Many amateurs practise seriously, sometimes for several hours every day, and cite the therapeutic benefits of playing the piano, the chance to escape and lose oneself in the music, after a busy day at the office. Those who perform more regularly understand the necessity to conquer performance anxiety and hone their stagecraft in addition to pulling off a polished and convincing performance.

Alan Rusbridger’s book Play it Again (2013), in which the editor of the Guardian charts his learning of Chopin’s G minor Ballade, a famously difficult work even for the most seasoned pro, offers some interesting glimpses into the world of the amateur pianist. There are piano circles, performance platforms, concerts in people’s homes, informal get-togethers, courses and more which bring amateur pianists of all levels together to play, share repertoire and socialise. Meanwhile, popular summer schools at home and abroad offer amateur pianists the opportunity to study with, and gain inspiration from international concert artists and renowned teachers from some of the top conservatoires around the world. The most famous summer school at Chethams, known affectionately as “Chets”, boasts a large and impressive faculty, including “greats” such as Peter Donohoe, Leslie Howard, Noriko Ogawa, and Boris Berman, and is held over two weeks in August. Summer schools like this offer not only specialist tuition, both one-to-one and in a masterclass format, but also performance opportunities, faculty concerts, recordings, chamber ensembles and choirs, and plenty of “piano chat” between students. Firm friendships are made on courses and piano weekends such as these as like-minded people come together to share and express their love of the piano and music-making.

And so back to Masterchef, and Ping and her fellow finalists. Just as my friends in my piano group show a deep passion for the piano and everything connected with it, so these three “amateur” cooks display a deep and consuming love for food, for creating and preparing it and sharing it with others. If Ping and the other finalists Jack and Luke go on to pursue a “professional” career in the food business, I hope they won’t ever lose that love. And just as food is created for sharing, so is music.

Practising for Lovers – Stephen Hough’s blog

London Piano Meetup Group

South London Concert Series

 

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David Schofield and Daniel Parkinson (Photo: Tom Gradwell)
David Schofield and Daniel Parkinson (Photo: Tom Gradwell)

RNCM postgraduate conductor Daniel Parkinson and students from the School of Strings have teamed up with British pianist and Junior RNCM alumnus David Schofield to release a charity single in aid of Your RNCM.

A new version of the famous Londonderry Air, or ‘Danny Boy’ as it’s more commonly known, will be released through all major online stores on Monday 19 May with proceeds going towards Your RNCM, the College’s £3 million campaign to transform its 40-year-old Concert Hall into a state-of-the-art venue.

Recorded at the Manchester-based college earlier this month, the single was arranged for piano and strings by RNCM alumnus and world-famous pianist Stephen Hough with original orchestration by Ross Clarke.

Daniel Parkinson conducts RNCM strings (Photo: Tom Gradwell)
Daniel Parkinson conducts RNCM strings (Photo: Tom Gradwell)

Daniel, who is currently studying for an MMus in Solo Performance (Conducting), said: ‘The refurbished Concert Hall will provide a platform for artistic excellence at the RNCM. This campaign single came about thanks to the RNCM’s policy of encouraging and supporting students’ creativity as well as its ability to think out of the box. It has been a pleasure bringing together such a talented group of people to produce the track and I hope that it is successful in creating awareness and raising money for such a vital campaign.’

David, who studied at Junior RNCM before joining Chetham’s School of Music and the Chicago College of Performing Arts, added: ‘The RNCM played a major role in my early musical education and it is so nice to play a part in this single and give something back to both the College and Manchester. Stephen Hough and my good friend Ross Clarke have done an exceptional job on both the piano part and orchestration – it captures so well the meaning of the piece of music and is great to perform.

(Photo: Tom Gradwell)
(Photo: Tom Gradwell)

‘I was in the Concert Hall a few weeks ago and seeing the progress is amazing; it’s not only a great addition to the College but to musicians across the world. I have been so lucky to work with an amazing team of people on this project and I’m keeping my fingers crossed for a classical number one on Sunday 25 May.’

Your RNCM officially launched in October 2013 and has so far received support from scientist and TV presenterProfessor Brian Cox, BBC 6 Music presenter Stuart Maconie, Classic FM’s John Suchet and, among others, international pianist Lang Lang.

Here’s a teaser of the single (#rncmsingle)

To date, the College has raised almost half of its £3 million target and work on the transformation, completed by Styles & Wood, is well underway. Incorporated in the plans is a complete redevelopment of the Concert Hall to include a new air-conditioning and heating system, new flooring and seating, advanced technical facilities and lighting, in addition to a balcony and raised floor area to considerably increase capacity. The backstage production areas of both the Concert Hall and RNCM Theatre will also be reconfigured to support increased student numbers and provide a professional learning environment at industry standard.

Professor Linda Merrick, RNCM Principal, said: ‘The RNCM prides itself on offering the very best facilities, not only to aspiring young musicians from all over the world, but also to audiences who recognise the significant position the college holds as one of the UK’s busiest and most diverse public performance venues. I am delighted and proud that our students are embracing our campaign and that so many are generating innovative ideas to help raise money for this exciting transformation. This single will appeal to music lovers from across the country and beyond, and is an excellent example of the talent and entrepreneurship of our young musicians.’

The RNCM Concert Hall opened in 1973 and closed to the public on Monday 27 January 2014. It will officially reopen as a state-of-the-art performance venue later this year.

For more information and to listen to interviews from performers and RNCM staff visit www.rncm.ac.uk/rncmsingle.

 

Meet the Artist…….Daniel Parkinson

Meet the Artist……Stephen Hough

 

 

 

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Oblique Strategies (subtitled Over One Hundred Worthwhile Dilemmas) is a deck of 7 by 9 centimetres (2.8 in × 3.5 in) printed cards in a black container box, created by Brian Eno and Peter Schmidt and first published in 1975. Each card offers an aphorism intended to help artists (particularly musicians) break creative blocks by encouraging lateral thinking. (Source: Wikipedia)

Earlier this week I heard an interesting programme on BBC Radio 4 in which the poet Simon Armitage set out to discover more about the Oblique Strategies cards, their origins and how they are used. The cards were most famously employed by Brian Eno during the recording of David Bowie’s Berlin triptych Low, “Heroes” and Lodger in the 1970s. In the radio programme, Simon Armitage spoke to Carlos Alomar (guitarist on those Bowie albums) as well as music journalist Paul Morley and chef Ian Knauer who use these cards, and during the course of the interviews with various creative people, it became clear that these brief gnomic aphorisms, selected randomly, can bring new or unexpected ways of thinking to seemingly intractable problems and difficulties, not just those encountered during creative processes such as writing, composing or painting/making art, but also in every day life. It also struck me while listening to the radio programme that Oblique Strategies Cards could be used in practising to help enliven practising or shine a new light on an issue which may have been causing one problems, or just to help one think and act more creatively during practise. It is a fact universally acknowledged that if our practising becomes monotonous, unthinking, uncreative and boring, it will not be productive.

I have taken just a few Oblique Strategies and considered how they might be used in day-to-day practising, and also in preparation for performance. These are my own responses to the cards, and are simply suggestions and perhaps an inspiration to others to try this approach.

‘Repetition is a form of change’

So, we all know that repetitive practise is the activity which fixes music in head, hands, eyes and ears. Repetition is what trains the muscular memory (what psychologists call “procedural memory”, since in reality our muscles do not retain a memory of movement). But practising the same phrase or section over and over again, 20, 50, perhaps 100 times, can be dull and unsatisfying. So make each repetition count: listen, look, think, consider, so that each subsequent repetition has value.

‘What mistakes did you make last time?’

An obvious and useful aphorism. Never ignore mistakes: consider why they happened and how they can be resolved. See them in a positive light – we can always learn from mistakes – and take action to ensure they do not reoccur.

‘Look at the order in which you do things’

An excellent suggestion! If your practise sessions always follow the same pattern – warming up with scales and exercises, perhaps, before moving on to work on pieces – try mixing things up a bit. Maybe do some warm up exercises away from the piano while thinking about what you need to work on, and then try a quick study or some sight-reading?

‘Listen to the quiet voice’

Taking time to  listen carefully and play quietly (and slowly) is an important element of practise and one that is too often overlooked by youngsters (and more senior players too) who may want to play with all the exuberance of youth, or who simply want to get through their practise session as quickly as possible. When we play quietly and slowly we allow ourselves more time to consider the music: look at the details, the different “voices” and lines of melody. Maybe a “quiet voice” in the left hand has not been given enough attention? Try highlighting it and see what effect it has.

‘You don’t have to be ashamed of using your own ideas’

Don’t always rely on your teacher to guide you in aspects of technique, interpretation and musicality. Trust your instincts and be brave, learn from listening and observing others, in concert and on recordings. Make your own judgements. A good teacher will guide and advise and offer suggestions if something you are doing is “tasteless” or not in keeping with the genre or character of the music.

‘Use “unqualified” people’

This ties in with the previous card. Asking non-specialists and those who have little knowledge of music to listen to your playing can be a useful and enjoyable exercise. Take their comments on board. As musicians it is not healthy to exist in an isolated ivory tower.

‘Turn it upside down’

My father used to do this when he was practising. He was a fine amateur clarinettist who played in an orchestra in Birmingham in the 1970s which was run by the then senior oboist of the CBSO. Turning the music upside down was a common practice in orchestral rehearsals to break the monotony and add a new slant on familiar music. It’s not as straightforward for a pianist, but it’s a fun exercise. Or try practising everything with each hand, and things in symmetrical inversion, or transpose (keeps the brain alert!).

“Are there sections? Consider transitions”

Music is constructed from clear ‘architecture’, and usually in defined sections. We tend, by necessity to learn section by section and this can lead to a piece sounding disjointed, despite our best efforts to create a sense of flow throughout the entire work. So, take time to consider the bridges and transitions between sections: practise the endings and beginnings of sections and think about how the different sections relate to one another, or offer contrasts.

‘Use fewer notes’

Not to be taken literally for we should always show fidelity to the score, but sometimes our playing can genuinely appear too “notey”. Try different forms of touch and attack, consider the sounds, phrasing, and dynamic range.

‘Make a sudden, destructive, unpredictable action; incorporate’

If you’re someone who enjoys improvisation, this will strike a chord (forgive the pun!). And even if you’re not a natural improviser, why not try incorporating some improvisation into your regime? And even within the rather stricter confines of serious practising, one should allow the unexpected and see where it leads…..

‘Convert a melodic element into a rhythmic element’

Another improvisatory impulse which can be incorporated into everyday practise. And maybe that melody could do with more rhythmic vitality to bring additional colour to it?

‘Define an area as “safe” and use it as an anchor’

Here’s one to help with performance anxiety. Think about the last time you played that piece or pieces and recall the positive feelings associated with it. Try and recreate those feelings in your mind, and body, as you prepare for the next performance. Instead of focusing on the “what if’s?” or allowing negative thoughts to creep in, anchor your attention onto positives drawn from previous successful performances.

And a few more of my favourites, for no particular reason:

‘Change nothing and continue with immaculate consistency’

‘Make an exhaustive list of everything you might do and do the last thing on the list’

‘Imagine the music as a moving chain or caterpillar’

‘What would your closest friend do?’

There are a number of random Oblique Strategies generators online, smart phone apps, and even a few Twitter accounts, or of course you could purchase the cards in their traditional format. Thank you for reading: I’m off to ‘do the washing up’.

Listen to ‘Heroes’ by David Bowie

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Paul Badura-Skoda (Photo @ DR)
Saturday 10th May, 2014 – St John’s, Smith Square, London
Chopin
Waltzes – A minor, Op.34/2, C sharp minor, Op.64/2, D flat, Op.64/1; Nocturne, op. posth., Four Mazurkas, op. 30, Barcarolle, op. 60
Schubert
Impromptu in B-flat D935 No. 3 ‘Rosamunde Variations’

Sonata in B-flat D960

The words “great” and “world class” are all too frequently bandied about in reviews and articles about musicians (and artists and writers too). But how does one truly define these over-used descriptions? If “greatness” comes from a life spent living with, and performing and writing about, some of the finest music ever written, forming a profound relationship with it and its composers, understanding with intimate detail its structures and nuances, then Paul Badura-Skoda is a living example of this.

Paul Badura-Skoda is a pianist I have long wanted to hear live. I was aware of him more as a respected pedagogue, writer on music and editor of works by Mozart, Beethoven and Chopin and others. My teacher frequently refers to him, I have met pianists who have studied with him, and I have listened to some of his recordings (including his latest in which he plays Schubert’s final sonata on three different pianos) with interest and curiosity.

His concert at St John’s Smith Square was an opportunity for me and my companion for the evening (a fellow pianist) to share a unique musical experience – and one which will resonate with us for a long time to come. To attempt to “review” the playing, the pianism, the musical understanding and insight of such a master would be churlish.

Badura-Skoda created a special and intimate soundworld and atmosphere from the opening notes of the bittersweet A minor Waltz to the life-affirming closing cadence of Schubert’s final Piano Sonata, a place where generosity of spirit and good humour ruled, a place of great intimacy, as if we had been invited into his own musical salon for the evening. Of course, Paul Badura-Skoda is steeped in that particular European tradition of music-making, and his teacher, Edwin Fischer, connects him to an earlier golden age of music making and culture.

Despite his age (86), Badura-Skoda cuts a sprightly figure (compare his twinkling eyes and brisk gait with the frailer Maurizio Pollini at the Queen Elizabeth Hall in April, who is more than 10 years Badura-Skoda’s junior) and displayed an obvious pleasure in being at St John’s Smith Square. And if there were some smeared notes and uncertain rhythms, the overall effect was of a musician who has lived with this music for many years and whose knowledge and understanding allowed the music to speak for itself, free of ego and unnecessary gestures.

Before the Sonata in B flat, D960, Paul Badura-Skoda said a few words about the piece, how he regarded it as Schubert’s “farewell” (it was completed less than two months before the composer’s death in 1828), and how the sublime opening theme suggests the words of a hymn or prayer. The first movement had a spacious serenity in the main theme, and the range of colours and nuances which Badura-Skoda brought to the music shone a new light on a familiar work for me: for example, the bass trills were voiced differently each time which gave them a greater resonance and sense of foreboding, and the exposition repeat was observed. The slow movement’s ominous tread was relieved by a middle section of great warmth. The third movement bubbled with all the exuberance of a mountain stream, the darker Trio hardly interrupting the mood, while the finale had drive and energy coupled with wit and humour, despite one or two uneven moments. This was an engaging and entirely satisfying performance, which was met, deservedly, in my opinion, with a standing ovation.