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Are there pieces that are simply too challenging for non-professionals to even attempt?

Guest post by Caroline Wright

There are those who believe that, yes, there are indeed pieces that amateurs should leave well alone. Hugely technically challenging pieces – of which there are many in the piano repertoire –  should be respected by those who cannot hope to do them justice. We should all be aware of our limits, and leave the tough stuff to those who can handle it!

I think most musicians probably disagree with this position. Personally I don’t think any repertoire should be off-limits, to anyone. We all need to be aware of our level and personal limitations, but that’s true of professionals and amateurs alike. Many individuals have physical limitations that mean they will never be able to play certain pieces, but that has no effect on their ability to play other repertoire – for example, having small hands is a curse for pianists who wish to play Brahms, Rachmaninoff and Ravel, but may actually bean asset in Bach, Scarlatti and Mozart. Finding and expressing the beauty of a piece of music can be both a challenge and a joy for anyone, irrespective of it’s technical demands.

I cannot think of a better way of respecting the music of great composers than by dedicating many hours to playing and memorising it. Listening to recordings and live concerts given by great performers is wonderful too, of course, but undoubtedly a more passive way to experience music than playing it and internalising it yourself. Learning the music, to such a level that you can see the score in the mind’s eye and listen along without the need for external sound, is surely a greater mark of respect than playing it note-perfect in every performance?

In reality, the boundary between amateurs and professional musicians is blurred. Many amateurs are highly skilled, qualified musicians, and many professionals rarely perform in public. At the end of the day, any musician (particularly soloists!) must decide what repertoire they are happy to play in concert in front of strangers, versus that which they prefer to play for their own enjoyment, in the safety of their own home. And here, I believe, is where the most stark difference occurs between amateurs – literally ‘lovers’ of music – and professional performers who must make a living from music. Those of us who have the (dubious!) ‘luxury’ of earning a living outside of performing can afford never to play to a fee-paying public, if we so desire. We may play to friends and family, students and colleagues, or simply to ourselves, without having to conquer performance anxiety and the very real possibility of making fools of ourselves on stage. This choice should certainly not act as a barrier to playing particular repertoire. Professional performers, on the other hand, must make a living from performing and accept that anything less than a polished performance is unlikely to help their career progression or recording sales.

As an amateur pianist, there is no doubt that there are many pieces that I will never be able to play well enough even for my own satisfaction (and wouldn’t dare inflict on anyone else!), and others that I believe I play well enough both for myself and others to enjoy. There’s a balance that I find hard to strike between painstakingly learning more challenging repertoire and playing technically easier repertoire to a higher musical level. The guidance of a teacher to steer any unwary students towards repertoire that they will find challenging yet satisfying is crucial. But no music should be off-limits and, regardless of one’s ability, it is a privilege to be able to study some of the greatest works that have ever been created by the human mind.

Caroline Wright is a musician (MMus, LTCL) and scientist (MSci, PhD). Her compositions have a diverse range of influences, from classical and contemporary to blues and jazz, film and folk, dance and electronica.

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“I wish I’d kept up my piano lessons!”

How many people do you meet who express this regret, that they’d continued childhood piano lessons into adulthood?

At my piano club, there are people who have played all their life; others who, like me, gave up, often in childhood or their teens, only to return to the instrument later in life; and those who have taken up the piano from scratch as adults, setting themselves on a path which brings pleasure and frustration in equal measure. For all of us, there is a huge sense of personal growth, self-determination and fulfilment.

The idea that once one reaches adulthood it is “too late” to take up the piano – or indeed any other instrument – is nonsense. The body and, more importantly, the brain is still receptive and highly malleable, and research has amply demonstrated that the brain remains “plastic” (able to adapt and change) throughout our life. Learning a musical instrument stimulates almost every part of the brain, especially those areas associated with memory. Contrary to common misconceptions, the adult brain continues to carve new neural pathways throughout life, and learning an instrument stimulates this and improves cognitive function.

Dismiss any idea that it is “harder” to learn an instrument as an adult. Unlike children, who may be compelled to learn an instrument by their parents, the adult learner makes the personal choice to pursue music and has the motivation, intent and self-discipline to stay the course.

It takes a degree of courage to decide to learn, or return to, an instrument, and to take lessons with the teacher and the first few lessons can be extremely daunting, but find the right teacher and the activity is an extraordinarily fulfilling experience. No dull exercises or drills or exams, but a stimulating flow of ideas and inspiration, exploring repertoire and honing one’s skills, while life experience and maturity bring a special dimension to lessons and learning.

I first started to learn the piano when I was about five years old, took all my grade exams, and then abruptly stopped playing when I left home to go to university (to study not music but Anglo-Saxon and Medieval literature). I hardly touched the piano for 20 years, but when I returned to it, I did so with an all-consuming passion. I took lessons with master teachers and attended masterclasses with leading concert pianists. I set myself the personal target of learning and preparing music at a very high level to fulfil the requirements of professional musical qualifications (two performance diplomas which I passed with distinction) and organised and performed in my own concerts. Today the piano is my life – and my work – and it has put me in touch with so many wonderful, inspiring and interesting people. I certainly intend to go on playing the piano and engaging with the literature and those who play it for as long as I can.

It’s never too late!

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I was recently asked for some tips on returning to the piano after a long absence.

I stopped playing the piano at the age of 18 when I left home to go to university and I didn’t touch the instrument again seriously until I was in my late 30s.

It may be two years or twenty since you last touched a piano, but however long the absence, taking the decision to return to playing is exciting, challenging and just a little trepidatious.

Here are some thoughts on how to return to playing:

Stick with the familiar and play the music you learnt before

To get back in to the habit of playing, start by returning to music you have previously learnt. You may be surprised at how much has remained in the fingers and brain, and while facility, nimbleness and technique may be rusty, it shouldn’t take too long to find the music flowing again, especially if you learnt and practised it carefully in the past.

Take time to warm up

You may like to play scales or exercises to warm up, but simple yoga or Pilates-style exercises, done away from the piano, can also be very helpful in warming up fingers and arms and getting the blood flowing. This kind of warm up can also be a useful head-clearing exercise to help you focus when you go to the piano.

You don’t have to play scales or exercises!

Some people swear by scales, arpeggios and technical exercises while others run a mile from them (me!). As a returner, you are under no obligation to play scales or exercises. While they may be helpful in improving finger dexterity and velocity, many exercises can be tedious and repetitive. Instead try and create exercises from the music you are playing – it will be far more useful and, importantly, relevant.

Invest in a decent instrument

If you are serious about returning to the piano, a good instrument is essential. It needn’t be an acoustic piano; there are many very high-quality digital instruments to choose from. Select one with a full-size keyboard and properly weighted keys which imitate the action of a real piano. The benefits of a digital instrument are that you can adjust the volume and play with headphones so as not to disturb other members of your household or neighbours, and most digital instruments allow you to record yourself and connect to apps which provide accompaniments or a rhythm section which makes playing even more fun!

Posture is important

You’ve got a good instrument, now invest in a proper adjustable piano stool or bench. Good posture enables you to play better, avoid tiredness and injury

Little and often

Your new-found enthusiasm for the piano may lead you to play for hours on end over the weekend but hardly at all during the week. Instead of a long practice session, aim for shorter periods at the piano, every day if possible, or at least 5 days out of 7. Routine and regularity of practice are important for progress.

Consider taking lessons

A teacher can be a valuable support, offering advice on technique, productive practising, repertoire, performance practice, and more. Choose carefully: the pupil-teacher relationship is a very special one and a good relationship will foster progress and musical development. Ask for recommendations from other people and take some trial lessons to find the right teacher for you.

Pianists at play at a summer piano course in France

Go on a piano course

Piano courses are a great way to meet other like-minded people – and you’ll be surprised how many returners there are out there! Courses also offer the opportunity to study with different teachers, hear other people playing, get tips on practising, chat to other pianists, and discover repertoire. I’ve made some very good friends through piano courses, and the social aspect is often as important as the learning for many adult amateur pianists.  More on piano courses here

Join a piano club or meetup group

If you fancy improving your performance skills in a supportive friendly environment, consider joining a piano club. You’ll meet other adult pianists, hear lots of different repertoire, have an opportunity to exchange ideas, and enjoy a social life connected to the piano. Piano clubs offer regular performance opportunities which can help build confidence and fluency in your playing.

Listen widely

Listening, both to CDs or via streaming, or going to live concerts, is a great way to discover new repertoire or be inspired by hearing the music you’re learning played by master musicians.

Buy good-quality scores

Cheap, flimsy scores don’t last long and are often littered with editorial inconsistencies. If you’re serious about your music, invest in decent sheet music and where possible buy Urtext scores (e.g. Henle, Barenreiter or Weiner editions) which have useful commentaries, annotations, fingering suggestions, and clear typesetting on good-quality paper.

Play the music you want to play

One of the most satisfying aspects of being an adult pianist is that you can choose what repertoire to play. Don’t let people tell you to play certain repertoire because “it’s good for you”! If you don’t enjoy the music, you won’t want to practice. As pianists we are spoilt for choice and there really is music out there to suit every taste.

Above all, enjoy the piano!

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Pianist friends Alison Bestow and Claire Vane set up Pianissimi, an adult piano course, five years ago. I caught up with them to find out how their venture is progressing….

Pianissimi has been running for five years now; what is the secret of its success?

Claire: We have both been to many other piano courses, both in the UK and abroad. We are therefore very clear about what we want from a piano course; maximum face-to-face tuition, both in masterclasses and in individual lessons, and opportunities to perform every day. We also want to create a supportive, friendly environment and excellent organisation to keep the whole thing running smoothly. Many people have been with us for several iterations of the course, so we think we’re on the right track.

What do people most enjoy about Pianissimi?

Alison: Our tutors are first-rate. Warren Mailley-Smith and Penelope Roskell have been with us from the start, and this year we have achieved our ‘dream team’ which includes Graham Fitch and Nicholas Moloney. The tuition is intensive and so we make sure to keep participants fuelled with home-made cakes during the day and wine and snacks in the evenings, which people always appreciate, especially after performing following dinner.

Graham Fitch
Nicholas Moloney
Penelope Roskell

Claire: Participants always say how friendly everyone is. The location is really beautiful, on the side of the river Orwell with spectacular views, so the environment is inspiring.

Alison: For me one of the highlights is playing the Fazioli grand in the recital hall with its tiered seating. Although I know you prefer the Bechstein, Claire….

What are the challenges of both running and attending the course?

Alison: We split up the organisation between us, and we have very different skills, so it works very well.

Claire: I do publicity, networking and the loot. Alison does the tedious timetabling which would drive me mad.

What have been the best moments of the course?

Alison: I love all the evening concerts; there is always such a variety of performances and I always come away with something new that I am inspired to learn. I have made many new piano friends.

Claire: We did a scratch eight hands two piano duet last year which was hilarious. I loved the visit from Chris Norman of 1066 pianos who told us more about how pianos work, Steinways in particular, and how he goes about voicing them.

Alison: And the talk from Colin Hazel about women composers was fascinating.

Any sticky moments?

Claire: The accommodation is in school boarding houses, and one year we were given high bunks beds with a desk underneath – not ideal for one participant who was pregnant and another with a dodgy knee. The school sorted it out for us; never again!

Alison: The staff at RHS are brilliant.

Who is this course aimed at?

Alison: We want the course to be very inclusive for anyone who loves the piano as much as we do, so we suggest that attendees are grade 7 onwards and including diploma level and post-diploma. The levels of experience and performance are varied, but we try to ensure that everybody feels comfortable and confident playing in a group. The course is also ideal for those with a specific aim, such as preparing for a graded or diploma exam, or getting ready for a particular performance. There will be lots of performance opportunities for those who want them. But there won’t be any pressure on people to perform if they don’t want to.

How can I book?

Claire: There are a few places left for the June course. All the information about the course is on our website: http://pianissimi.wordpress.com/

Pianissimi is held at the Royal Hospital School, 8 miles from Ipswich, Suffolk.

Course dates: Thursday, 2nd June 2022 (5 pm) to Sunday, 5th June 2022 (5 pm)

View the location and facilities here