Approaching Orchestral Reductions

One of the most challenging tasks the collaborative pianist faces is grappling with orchestral reductions. We do not have the same variety of timbres available that a full orchestra can produce. "Piano Reduction" often means the editor simply transposed all voices into a single key and tossed every note on the staff with no thought for what might be most pianistic. Voicing and registration must conform to the physical limit of hand span.

The challenges of orchestral scores are at the forefront of my thoughts at the moment. I am preparing a recital that will feature Mahler's massive Kindertotenlieder. Much of the work's appeal is found in the rich orchestration the composer provided to support the lush vocal lines. While dealing with this enormously challenging score, I'm finding a few things helpful as I prepare for the performance.

• Use the orchestral setting as a roadmap for your piano reduction. It seems obvious, but as pianists, we can sometimes get so wrapped up in the notes on the page that we forget about the sounds that the composer intended. Regularly returning to the orchestral score and recordings helps us make informed decisions about phrasing, color, and layering.
• Accept the piano's limitations. My instrument cannot warm a single tone by adding vibrato. The core of the sound of a sustained pitch quickly decays compared to one sustained by a wind instrument. Rather than fighting against the piano's limitations, focus on its unique qualities and look for opportunities to exploit them.
• Carefully decide what is most important and what can be simplified (or completely left out)! Orchestral reductions are notoriously difficult to play. Through carefully examining the score and critically listening to recordings, it is the pianist's responsibility to determine what is essential and what can be left out. Resist the pressure to play every note. In this situation, communicating the intent of the orchestral accompaniment is far more important than sacrifing musical line in the name of virtuosity.
• Decode the text! The composer carefully chose the text that he set as well as the performance directives included in the score. It is essential that the pianist translate each word included in the score. A marking of agitato combined with lyrics referencing a storm clearly suggests a violent mood. Return to the text throughout your preparation, constantly looking for new insights that will influence your interpretation.

What do you find to be essential steps in your preparation of orchestral reductions? Is there a certain edition or composer whose reductions cause you significant levels of stress? We'd love to hear your stories in the comments below.

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Home Recitals

A few years ago, I ran across an article detailing one pianist's experience of presenting a small tour of intimate recitals in the homes of various friends and family members throughout the country. The idea intrigued me, but I wasn't certain it would be something I would be interested in. It seemed like so much work without much return or benefit. The concept returned to my mind last week when I was able to watch a preview recital of pianist Richard Fountain via Facebook that he played in a home while visiting family out of town. The success of this experience has led me to once again consider the pros and cons of home recitals.

The home recital is more relaxed and intimate by its very nature. It is a perfect situation for the performer to try out new repertoire before appearing on the main stage. Additionally, it allows the audience the opportunity to interact with the artist in a casual setting and encounter music with which they may not be familiar. A reluctant concert goer will be more comfortable experiencing something unfamiliar in a friend's home than in a stuffy concert hall.

One of the things that most attracts me to home recitals is the opportunity to share my passion for music with an audience in a non-threatening, relaxed manner. There is no pressure to be "informed" about the music; the audience simply gets to enjoy the sounds while sipping a beverage in a comfortable chair. Questions about the music and the learning process are welcome, but the discussion will likely be less academic than that which might be commonly encountered in a traditional concert setting.

A few challenges immediately come to mind when considering a home concert. Obviously a quality instrument needs to be available to the performer. In most metropolitan areas, a piano can be rented for a nominal fee if one is not already available in the home. While I would prefer to play on a nice grand piano, it is possible to elicit beautiful sounds from consoles and uprights that have been properly maintained as well. If we are willing to play on instruments that might be "less than ideal," the experience might be less intimidating for the audience as well as the prospective host.

Another concern for many performers is audience size. The purpose of the home recital is not to reach the masses with our music. Rather, the focus of these concerts is found in the intimacy between the audience and performer while allowing the artist to test our repertoire in a small venue. An audience of twelve to twenty guests would result in a packed house (literally!) in many home recital venues. With the use of technology that is readily available to many today, it is possible to expand the concert's audience beyond the geographical boundaries of the host home with minimal equipment.

The artist is probably not going to earn much money from a home performance. I would honestly be surprised to receive much more than a meal and possibly lodging. So why play a home recital? In addition to the benefit of trying out new repertoire alluded to earlier, it is also a way to reconnect with friends and colleagues while making new acquaintances (that might lead to future gigs). Most importantly, it is another opportunity to share the music we love with an audience we may never encounter from the concert stage. As a professional artist, some of the expenses associated with the home recital may be tax deductible; you will just want to speak with your tax professional before embarking on your adventure.

What are your thoughts? I'd love to hear about your experiences with home performances as well as your thoughts about their benefits and potential pitfalls.

Does Attire Really Matter?

This blog is devoted to all things related to music. So why in the world would I address the topic of attire in this week's post? Isn't it true that my performance is the only method of communication with which I should be concerned? We would like to think so, but the reality is that our wardrobe speaks to our audience long before the first note has sounded. If our clothing communicates negatively with the listener, it can be a very difficult task to regain their trust.

Discussions about clothing can be hot button topics. "How dare you comment on my wardrobe when it is my sound that you are judging!" I've repeatedly heard this cry of frustration during recital hours and jury exams at schools around the country. Before going any further, let me be very candid. I am not a fashionista by any stretch of the imagination. When given the option, I much prefer casual and comfortable. I have been guilty of making questionable choices related to wardrobe in performance. Having learned from my personal mistakes, it is my aim to help young musicians avoid some of the awkwardness I've experienced first hand. In that spirit, here are some practical tips related to performance attire.

1.  Recognize the power of the initial appearance on stage. When stepping on stage, it is important to exude confidence and professionalism. While our posture and countenance help to convey these attitudes, clothes can either enhance or detract from our message. The more professional your appearance, the more confidence the audience has in your abilities. This allows them to relax and creates a better performing environment for you.

2.  Every performance should be viewed as a potential job interview. You never know who is in your audience and what opportunities they may have available for you. If two singers perform with equal skill, the ultimate choice of who to hire for a gig may be entirely subjective. Appropriate attire can be the tipping point in such situations....so never allow your clothing to become a detriment.

Whether it's fair or not, my experiences suggest that vocalists tend to be held to a higher standard than other musicians in relation to performance attire. This can be especially difficult for performers in academic settings. My suggestion is to elevate your clothing options any time you are performing for your studio in the middle of a busy day of classes by wearing at least what qualifies as business casual attire. This clothing sends the message that you understand the importance of your performance while allowing you to maintain a level of comfort for the rest of the day's activities. Departmental recitals, juries and master classes should be treated more formally, similar to an early evening recital. In other words, semi-formal attire is appropriate, meaning that men should probably wear a coat and tie. The performance is formal, but we have not reached the elegance of a black tie event. Tuxedos and evening gowns are reserved for large ensemble performances and important solo recitals.

3.  Never be under-dressed! Just as you would not attend a funeral wearing a Hawaiian shirt and Bermuda shorts, you never want to walk on stage dressed worse than the members of the audience. Since you will be in the spotlight as a performer, you want to be one of the best dressed people in the room. While in school, information about appropriate attire for various performances often becomes clear as you get to know the situation better and follow the example of upperclassmen; if you are in doubt about appropriate attire, dress semi-formally. You will never be penalized for looking too nice on stage.

Speaking of knowing the expectations of a specific circumstance's appropriate attire, it is also important to realize that the dress code for any event can be adjusted over time. Just because the event was business casual last year does not mean it will always be that way. As standards change, the message will be communicated by those in authority and may include gentle comments about appropriate attire. If your attire has been addressed by a conductor, director, or faculty member in a past performance situation (whether you agree with the statements or not) and you return to a similar situation without making a significant modification, do not be surprised when you are called on it! (Additionally, it would not be out of the range of possibility to earn lower marks or pay as a result of your attire.)

4.  Fit matters! It is also imperative that your carefully selected clothing fits well. Clothes that are too tight are uncomfortable and will distract you during the performance. On the flip side, overly baggy attire presents a frumpy and disheveled appearance, generating ideas that you failed to thoroughly prepare in the audience's minds.

It is generally advisable to do some rehearsal in full concert attire. There are several questions the artist wants to consider prior to the recital. Does the jacket inhibit my range of motion? How does the jewelry I've selected (especially watches and bracelets) respond to the bowing patterns? Ladies should carefully consider the effects of high heels on their balance and breath support. While it can be fun to select new outfits for special performances, it is never a good idea to see how the garments respond for the first time in the heat of the public performance!

The concert stage and the performance is greatly served as we err on the side of modesty in apparel selections. Thought should be given to the effects of stage lighting on the selected fabric. The audience's proximity to the stage (both distance and angle) can influence choices of hem line and neck line when selecting a dress or evening gown. Modesty and adherence to traditional wardrobe selections on the concert stage should not be viewed as an attempt to stifle personal expression; rather, it is an effort to avoid potentially uncomfortable situations for the artist as well as the audience.

What aspects of clothing do you take into account when selecting concert attire? Have you had a wardrobe malfunction during a performance that resulted from poor planning? Add your voice to the discussion in the comments below.

(N.B. I'm enjoying a vacation with my family next week, so I won't be blogging. I plan to return to Collaborations on July 30.)

Is Memorization Really Necessary?

I love to play the piano. I love the feeling of playing in front of an audience and communicating with them simply through the sounds I draw from the instrument. I HATE playing from memory. I've spent years avoiding public solo performances because I wanted to avoid the memory work. Now I'm asking myself (again) if it's really necessary.

I understand that there are some definite advantages to playing from memory. Memorization removes the necessity of turning pages. It suggests that we are intimately acquainted with the piece and have studied it thoroughly. We are able to lose ourselves in the music when playing from memory.

I am also well acquainted with the negatives of playing from memory. Memory slips are par for the course and can rattle the player's confidence. When that happens, I find myself only thinking about getting off the stage; the joy of sharing the music with an audience is gone! Just because I'm using a score doesn't mean that I am reading every note. It just means that I am more confident with the music in front of me and want to insure that I can play beautifully without stressing out about an unexpected memory slip.

I've planned recitals with the intention of using a score and learned the entire program before canceling at the last minute. I assumed that some in the audience would label me as an inferior musician because I didn't memorize every note. I allowed fear of others' opinions to keep me from doing something I enjoy. That's simply not acceptable.

Perhaps my fear of memorization comes from never developing a good approach. I've tried analyzing chord progressions, sequences, and melodies before memorizing. That is certainly helpful in getting to know the piece, but it doesn't help me with the memory work. I'm just really slow at memorization and get frustrated with myself as I struggle through the process.

I know that the only way to get better is to actually do it. So I've pulled out some scores that are completely new to me (and not terribly complex) and started to learn a couple of new pieces. Now I'm beginning the process of memorizing. I'm approaching the memory work differently with each one and will see which procedure seems to work best for me. At this stage, if I memorize a few measures each day I am considering it a successful session. As I stretch my memory muscles, I am confident that the process will become easier over time.

How do you memorize music? Do you feel it is necessary to memorize the repertoire for a solo recital? I welcome your comments.



PLEASE NOTE - I will not post next Thursday in observation of the July 4 holiday. I will resume blogging the following week.