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Appropriate
interpretation of a musical work is possible only
when:
The
musician (interpreter) has a knowledge of style,
of the work’s quality criteria, and
of the period in which the composer worked,
The
musician has the ability to read the score, has the aptitude to decipher
and understand all the precise instructions
left by the composer, as well as the ability
to comprehend the work’s artistic idea,
The musician is able to exercise free artistic
expression without contradicting the composer’s idea, and
The
musician has the technical freedom and
capacity to achieve the composer’s idea and to fully “live”
the work.
When these
parameters are not respected, a pianist cannot hope to be successful
in meeting the public’s demands for quality performance.
For example,
a pianist might play a classical work as
if it were romantic one (1). He
might invent his own tempos, rhythm, and
dynamics (sound volume) instead of those
conceived and balanced by composer (2).
He might close
his heart, dashes (surges), his temperament and hides his individuality
by fear to violate the stereotypes, founded
by the greats pianists of the past (3),
Or, he might not be able to play quickly enough
without making errors, say, in two or three of
the most difficult passages contained in a score 30 pages long.
Apart
from the problems of interpretation, a musician must still learn how
to overcome two other challenges, which
await him once he is on the scene of the performance.
These are stress, (fear of the public/stage
fright), and the apparent impossibility of playing a score by
heart.
So,
how best to overcome all these difficulties?
One solution
might be to read the music methodological literature. However, this
experience would be like that of the hero of Jerome’s book, "Three
Men in a Boat". The hero read an encyclopaedia of medicine only
to believe that he had every disease described therein, except puerperal
fever.
Another
solution might be to constantly listen to the recordings of the great
pianists in an attempt to separate out their secrets. Of course, that
approach which would most likely rapidly lead the listener to develop
an inferiority complex. I recommend neither of these solutions.
To
learn most effectively,
a student should apply himself to an experienced
and kind instructor (pedagogue) who will teach in a rational
and effective way.
Being such an instructor, I will listen to you
attentively, will understand your problems, will
help you to improve
your level of piano performance, and I can aid in revealing
your artistic individuality.
Such an
instructor, will pilot you through all the pitfalls that exist in piano
compositions, and will aid you towards achieving perfection, comfort
on scene, and a good relationship with your audience.
The
above partially describes how and what I teach.
Further,
this website explains my method of teaching young pianists and pupils.
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