All the piano pieces I didn't play. All the pieces I didn't cover, didn't learn... didn't perform... didn't record... All those pieces I never heard (of). It's my Anti-Repertory. Some of the old pianists covered more. (They had to, there was no recording -- ) Antimatter, Antichrist. (to be able to hear anything, it had to be played.) Doesn't matter. The molecules don't have to be made to vibrate. Music is not only outside us but inside … [Read more...]
Repertoire Inflation
In this spring's auditions, I've heard prospective undergraduates perform Beethoven's "Hammerklavier" Sonata, Schubert's A-Minor Sonata, D. 845 -- and, of course, many offerings of Liszt's Sonata, Stravinsky's Three Movements from Petrushka, and Ravel's Gaspard de la nuit. These seventeen- or eighteen-year-old pianists are grappling with, or storming through, music that's considered to be at the pinnacle of musical or virtuoso difficulty. I … [Read more...]
Scripture reading
In the evaluations I've been writing during the spring auditions, there are notations like this: B: 31-2 (I, II) Br: 5 (I) C: 10-8 I take down which pieces are performed by prospective students, referring, with this shorthand, to the classified canon of piano music, so compact and so sorted that in some cases, even more cryptic scribbling suffices: 111 (1) 959 (I, II) L'i j Maybe I've grown to enjoy this abbreviating too much? 111 would … [Read more...]
Lineage
After a concert I played in Munich in May, there was a question-and-answer session. (I performed music written by Alvin Curran, Sylvano Bussotti, and Earle Brown.) One audience member asked if a performer of newish music still needs to study Chopin's etudes? Since the pervasive use of photography by visual artists, the question arises in art schools: "Do art students need to learn how to draw?" To the question in Munich, my immediate … [Read more...]