With my Diploma behind me, it’s high time I set to work on learning new repertoire, in particular in preparation for my teacher’s spring weekend course.
The day after my diploma recital I woke with aching limbs, and a feeling of extreme tiredness akin to ‘flu, the effect of coming down after a big adrenaline/anxiety induced high (nervousness is surprisingly energy draining). I expect these symptoms are familiar to regular performers, but I was surprised by just how exhausted I felt. Instead of rising early and going straight to the piano as I normally do, I drifted through the day, listening to the radio and “pottering” in a way I hadn’t for months. I felt a little bereft without my diploma pieces to practice, but I’d vowed immediately after the exam that I would not “post mortem” the event. In the words of Doris Day “Que Sera, Sera”.
In his excellent book With Your Own Two Hands, Seymour Bernstein offers a sensible “cure” for post-performance ennui:
At this low point, we have only to let music itself take charge. For every challenge we can possibly want lies before us in the vast and inexhaustible repertory that cannot but replenish our spirit. For true musicians, depression is temporary because their music is permanent.
Two days after my exam, I went on holiday for week, but I did read some scores on my iPad, listen to music and think about the repertoire I wanted to look at on my return.
Chopin – Nocturne in E major, Opus 62 No. 2. The second of the Opus 62 and the last set of Nocturnes published in Chopin’s lifetime, charming and mature works of great expressiveness. The second of the set opens with a stately yet lyrical theme before a more restless middle section. The opening melody is then restated and the piece ends with one of the most exquisite cadences in all of Chopin’s music. Here is Pollini:
Schubert – Impromptu in F minor, Opus 142 No. 1. I first learnt this a few years ago, and then lost interest in it. It is my second favourite of all of Schubert’s Impromptus, the A flat from the first set being my absolute favourite. I love the grand, classical, almost “Beethovenian” gestures of the opening measures, before the music gives way to a plaintive duetting figure. Schumann suggested that this Impromptu could form the opening movement of a Sonata – it certainly has the feel of a Sonata in its varied gestures and textures, yet it stands alone perfectly too. Here is Perahia:
Bach, trans. Liszt – Prelude & Fugue in A minor, BWV 543. I heard this in concert recently, performed by Khatia Buniatishvili, who brought delicacy, clarity and grandeur to this work which Bach originally conceived for organ. Liszt demonstrates his deep reverence for Bach in his treatment of the material: he takes no liberties with the music, but rather simply enhances what is already there, capitalising organ sonorities, and some bravura chromatic figuration. Here is Khatia herself: