Avoiding Commandments

Most of the road blocks in the path to good music making, are mental, and not physical.   They can be tough to overcome, and a daily dose of vodka, is not a healthy way to remove those inhibitions.    I know, a little southern comfort while struggling with Bach can be tempting, but in the long run, it just doesn't work.

This free advertisement warrants a free bottle? Yes?

I find myself, when in my biggest moments, yelling at myself, and enjoying a donut or two.  What I learned is, as much as the will is there,yelling does not work.   Stubbornness can be a great thing; push us to new heights when times are tough, and help us tune out the truly negative criticism that can cripple us, but with the learning process, we have to be careful.

"Crescendo, Crescendo!!"

"Bring out the melody here"

"Faster"

Bring about immediate, but not always organic results.  Bringing forth musical spasm, ratted nerves, and then back to where we were to begin with.  These commands lack any real weight or purpose, they are impotent, they do not confer any ideas.   They do not encourage good music making, or any long term gain.   

When we sit down, at a concert, and the orchestra swells, that beautiful long, gradual, even sensual crescendo, this can do more for us then any of our commands.   It can be more potent then any lecture, or explanation we can give ourselves, in our own understanding.     These musical directions must exist in the mind, before we can produce it with our fingers.   The melody must be able to sing in the brain, before the fingers recreate the tones.   Our own mental pace, must quicken, before we can ask our fingers to move "faster."

This is only from observation and personal experience, but I sometimes hear when hearing a piece, it can increase my own abilities.   Hearing a performer, play it faster, or doing an interesting interpretation, increases our own abilities, to interpret.  We have new mental pathways, we can imagine it, in fascinating ways, and twist it further.

I recently listened to Vladimir Horowitz's recording of Chopin's Andante spianato et grande polonaise brillante Op. 22 (included is the youtube link in two parts.)

I heard, something special, in it's conception, power, speed, every aspect felt new.  I always felt, that this piece was outside of my skill set.   Upon hearing this recording, the piece, became alluring, sticking in my mind, and despite Horowitz's technical abilities are far beyond my own; I felt this piece was finally within my grasp.

In a profound intimate way, Proverbs Chapter 23 Verse 7 comes to mind, and a phrase from that verse holds truth.

"For as he thinketh in his heart, so is he"

Inspiration

I am not a composer, and hold a very big jealous streak in me for those who can create music.   I gave it a try when I was younger, and was just unable to make something, that I felt, was special, and worth developing.

Being a composer is a tough job, we now live in a world, that demands everything be 100% original, which has lead to some very weird directions in some of the music being written.    Though, this will not be a rant about the direction of current classical music, but rather my thoughts on what separates a great composer from the rest of the herd.

Inspired, one of those words that get's thrown around way to often, along with other words like genius.  Though, it is essential to good music.    I am not referring to the mood of a moment, or even those "AHA!" moments, but rather, a permanent breath of life, that seems to spring forth from life force itself.  Whether, that be the composer or God, or whatever one chooses to believe that is.   No amount of technical prowess or knowledge can make up for this inspiration.  

I believe that this is a spiritual quality that anyone is capable of despite their personal beliefs.   Many people can have a spiritual sense without believe in a specific deity or religion, so this is not a religious spark.

Composer's need faith, faith enough in their own abilities, in themselves, in their convictions, enough so that they will sacrifice, put themselves on the line physically as well as emotionally, if need be; those people will find victory in the end.

The hard truth is there is not quick fixes or detours, for this kind of satisfaction.  Quick, fleeting successes, will hardly feel worth while, and the weight of the many great composers of the past can weigh down on a person's soul until they are in despair.

Though, despite all this, I feel that composers who can endure, through the mental blocks, the exhaustion, and sometimes having to forgo physical comforts, that it will pay off, the walls do tumble down.   It happens for others, and for the many great composers in the past who found their voice.  

Believe in what you are doing, have faith, and keep composing, and your music will find a way to endure!

Distractions...

The fantastic weather outside is making it very difficult for me to concentrate on the music infront of me.   It is times like these that one can easily become jealous of other instrumentalists, who can easily take their instruments outside and enjoy the sunshine and increasing chances of getting skin cancer.

Currently I am finishing up my second part of my Top Ten posts, doing the records that do not fit in the classical category.   I was surprised at how rooted some of these albums are.   Also on the the top of my list of things to do is record Mozart.   I own a Petrof upright piano, and while it is good for practicing, I am not sure about recording on it.  Suggestions?

Top Ten Favorite Classical Records.

Everyone has their list of favorite albums.  May not be organized in a top ten, but I can ask anyone to tell me five recordings that changed them, and they can answer, pretty quickly in most cases.    These albums, are firmly planted in our minds, we remember where we were when we first heard the sounds burst free from our speakers.    They grip our consciousness, and for that small time while we listen we are enraptured, transported, and ultimately transformed by the experience.   Our world is shaken, and things will never be the same.

Later on I will do my Top Ten, non classical recordings list, but for now, let's just keep it to Classical.   

10).  Romantic Piano Concertos Volume 50:  Tchaikovsky

I will be upfront, I was never a big fan of Tchaikovsky's First Piano Concerto.   It was overplayed, and most of the time played badly or uninspired.  That was until I heard Stephen Hough.   I was lucky enough to see him in concert play the first with the Indianapolis Symphony.   I was blown away, by the power, passion, and his graceful, clean sound.   I went out to get the recording almost immediately.   I was in luck, it sounded just like the concert.   I always worry, that a record will be over engineered.   And a further bonus,  He plays the lesser played, but just as brilliant 2nd and 3rd concertos as well as the unknown concert fantasy.  Just and overall delight of Russian romantic piano music.

9). Karol Szymanowski: Piano Sonata No. 3; Métopes; Masques

For a long time, I thought I could not enjoy more modern classical music.  To me, it sounded weird, ugly, and missed the epic grandeur that I loved in the Romantic works.   Piotr Anderszewski's account of polish composer Karol Szymanowski changed my mind.  I found myself curious about the pieces, probing into their structures, and just listening for what happened next.  Whether it was the pianist, or just the right time I feel that Anderszwski had a sound that was both intellectual, curious, and daring.

8.) Leonard Bernstein: Beethoven The Complete Symphonies

I have since listening to this recording, heard the Beethoven Symphonies many times.  Sometimes I enjoy the recordings more, but this was the first time I heard all of Beethoven Symphonies, and really took time to listen to more then the 5th.   Bernstein's energy and enthusiasm for the music is infectious.   The recording, is loud and energetic.  It always got my blood pumping.   It is hard to not still sing BUM BUM BUM BUUUUMMMM, and conduct to my imaginary orchestra, when his fifth symphony begins to play.

7.) Christopher O'Riley: True Love Rates

I debated whether to put this on my list of classical recordings.  Considering it is transcriptions of the music of Radiohead, but transcriptions have been part of classical since day one.  With the Liszt Schubert song transcriptions coming to mind.  I feel this recording is not any different.  Presenting music that is popular today. Also, I am including some of these transcriptions in my own recitals later on this year.  O'Riley definitely has an impressive resume, and brings many of these Radiohead songs to life for classical audiences.  What is more amazing, is while virtuosic, all of the songs line up perfectly with their original counterparts.   Paying tribute to what made those songs special, only taking liberties with the scope of the harmonies being used.

6). Murray Perahia: Mozart The Complete Piano Concertos

Murray Perahia is one of my all time favorite pianists.   He has a sense of control that can rarely be matched.   That is exactly what is on full display in his recordings of the Mozart concertos.   These recordings capture everything, the graceful nimbleness needed for Mozart, a pure sounding tone, and balanced orchestra.   I was unable to just choose one CD, so luckily for me they finally released a box set with all the concertos included.   

5). Jon Nakamtasu: Rachmaninov Piano Concerto No. 3/Rhapsody on a Theme of Paganini

I love Jon Nakamatsu's playing.  he was the first pianist I got to see playing in concert, and was the first time I heard a piano play with an orchestra.  The experience has stuck with me, and I remember it fondly. His recording of Rachmaninov's tough 3rd piano concerto is great.  It may not have some of the power as other recordings, but the passion is there.  Bringing to life the sensuality in the piece, and bringing us through a breathtaking experience. 

4). Emanual Ax: The Brahms Concertos

Both concertos by Johannes Brahms are gargantuan, some of the longest in the standard repertoire.  Presenting many challenges for the piano as well as orchestra.   In these concertos, the piano is more part of the orchestra, instead of the usual confrontation between the two.   No one get's that better then Emanual Ax.   His piano sometimes sneaks out of the orchestra, and always feels one with the sound being created.   There are many great delicate moments as well as the big show stopping ones. I always find it hard to not let a tear come to my eye when listening to these pieces.  They tell a story, that is very close to my heart, and never fails to move me.

3). The Pianist Soundtrack

I remember a few moments from the film "The Pianist" staring Adrien Brody.  All of them feature the piano, and though there was few piano scenes in the movie.  It was evident, despite some small issues, that the director had respect the that the instrument played in his character's life.  Whether the scene where the protagonist must play for the German officer while he is starving and frozen, or the glorious credits, that feature Chopin in full glory.   They are all captured here, on CD, letting me enjoy those moments without having to watch the movie.  On here is some truely great recordings of known Chopin pieces, some like the Grande Polonaise or The famous G minor Ballad, but also smaller intimate works , a few nocturnes, mazurkas.   

2). Horowitz: Live and Unedited

Legendary Vladimir Horowitz's 65 return concert.   While, his playing may have not been at his best technically.  He was dealing with nerves, and coming out of a 12 year retirement.  His passion and power are electrifying. From the very first few opening bars of his Bach, to the last powerful chords of Chopin's G minor prelude, this recording is just exciting.  Horowitz was always great and being and excellent showman, and his interpretations are always worth listening to.   This is a great recording to hear why he was considered one of the best.

Transcriptions, soundtracks, and lot's of piano, these recordings shaped how I listen and enjoy classical music.  Each one is special to me.   So what could be No. 1 in my mind?   I thought about this, and the answer was simple.  Drum roll please.....

1). Murray Perahia: Beethoven's Piano Concerto No. 5 "Emperor"

I spoke before that Murray Perehia is one of my all time favorite pianists to listen to.   I also should admit, that I have an obsession with Beethoven's "Emperor" Piano concerto.   It represents everything I love from music.   A brilliant structure, that only Beethoven could come up with, a grandiose sound, exciting moments, and intimate sensuality.  Beethoven paints a picture of humanity as a whole.  Capturing everything we feel. Perahia is the Perfect choice for this piece.  Once again, his control is on full display, but the music is still exciting.   Tempos feel perfect, and the slow movement touching.   It is not and exclamation of sadness, but rather a celebration of the journey that is our lives.

I would love to hear what other people have as their top ten, so please leave a comment below!   Subscribe or Follow on facebook at www.facebook.com/jdhpiano 

For Those Who Call for Change Part 2

It was a sticky situation, the place was coming apart, the boards on the windows would not hold for long, supplies were limited, and worst of all, THEY just kept coming.  Who was they?  Nazi Zombies, which I guess are worse then regular. zombies, which means I have to ask, are there Jewish Zombies?  American? Christian, what happens when a Nazi zombie bites an american?   I derail of course....It was a fun night, of x box, booze, and later on karaoke.   With just enough vodka in us for no one to care about how truly bad we are.

I mean, it was a night of quiet reflection, as I pondered the meaning of life...Yeah, that's it!

And now....Mozart!

In my last post, I briefly ranted about changes in classical music, and ruminated on the audience; what music meant to them.     I also believe though that many changes have already happened.   Are we blind to them? Are they enough to satisfy those who rally with the cry of "change?"   Or, are the small changes I see, more of a local event?   Not as spread out as I would like to believe.

Small Disclaimer:  This is all 100% opinion based on my observations, I will not be offering statistics, just what I have seen with my own eyes.

If we classical musicians have a uniform, it would be the formal tux, or black dress.   Many concerts the pianist, or soloist, can be seen taking the stage wearing his best tux, or her best dress.   The members of the orchestra, present a unified front, men also wearing tuxes, women in dresses.

In the big orchestral concerts, this is mostly still true, the standard concert dress.  That is perfect I believe, I feel it adds to the performance, so many musicians acting as one to bring a piece of music to life.  Though, in many smaller intimate concerts, the dress seems to be changing.

The dress is becoming causual; more and more often, I see concerts by artists, who are not wearing their Sunday best.    Jeans or sometimes a t-shirt.   Friend and Chicago based pianist, Jonathan Cambry, is a great example, bringing his individual style to the concert platform.

Here is a video of a recent series of performances he was apart of.  I believe the relaxed dressed helps people feel more at ease in a concert.

Sometimes, it has helped the audience just relate more with the performers.   They do not feel an uptightness, and relax and enjoy the music more.




Overall, musicians are trying harder to give the concert goer a more relaxed experience.   We are in touch with the members in our audiences, as we play the music we love.

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Those Who Call for Change....Part 1

Over and over again, I run into blogs and articles on how Classical music needs to "change", that it is old fashioned.   Everyone appears to have an opinion on the subject, and many times it is, we need to change the formula to win the kids back.

So how does one respond?  By writing a blog on the subject of course! And, become annoyed at myself later for doing it.

What seems to be lacking, is what the concert experience is for people.  Which is increasingly varied.   Let's not worry about the wide variety of music styles, even in styles such as rock, which has many niche styles, that will never achieve wide spread acclaim.  Let's just discuss what the concert experience is for people.

All around the world, people go to concerts for different reasons, in some parts, they are much more relaxed at classical concerts.   Even in America, going to a concert, can be a different experience, by which part of the country you are in, who the typical audience members are.   I know many people who enjoy getting to go to something "classy", getting to dress up, and go for a night on the town.   They truly enjoy listening in silence to the music.

Some people, it is a more spiritual experience, classical music, can bring them closer to God.   I am reminded of the times I have played at churches, and the reaction to the music being played.   One church prided it's self on playing modern church music.  Songs that were more akin to top 40 radio then spiritual works.   I would sometimes play some classical during the time of communion, during a time of silence for the congregation to pray.    Often, I was hit with the complete silence after I would play.  It was louder then any applause I have ever received, and I rarely felt it, when non instrumental or classical works were played. At first, worried, that I had not done my job well, but what followed touched me.   Many people, came up to me after the service, and complimented me, thanking me for playing that music, that it had reminded them of something important, memories, family members or close friends, and allowed themselves to open up emotionally.  

My eyes were open after this, to the different uses, and needs of the music I played.   Differences between a concert, a small intimate recital, or just a piece at church.    I feel many, who claim there need to be change, want to pigeon whole the music.  Classify it as easily as some pop music genres.  Seeing the concerts of the big stars, and maybe, feeling a twinge of jealousy, wishing for something more like that.    This is all purely opinion and guess work.   It is important to consider our role as artists, we do not all have the same path, and more ticket sales are not always the end goal.

My own goals are simple...If even just one person walks away from a performance of mine, and was touched on an emotionally level, I have done my job.  I feel, that when I play, that there is a sharing of intimate stories, melodramatic, exciting, sometimes tragic, but always uplifting.

Please feel free to comment and subscribe; I would love to discuss this further.    And click like on my facebook page, for further updates and projects.

In part two, I would like to discuss, why I think many of the changes, that some call for, may have already happened.

Practice, Practice, Practice.... Part 1

Practice, Practice, Practice...A phrase I remember clearly from my first teacher.   Of course every teacher advocates practice, it is not possible for us to improve as musicians without putting in our time.  Of course, this varies greatly from person to person, but the core remains the same, we get better as we play more.

I am jealous of many of my peers, who are very natural piano players, with large hands or longer arms.   Or, in some cases, just learn much quicker, but these things do not mean, that I am any less of a musician.   I also feel, that, the way I practice, will not work for everyone, and people should find their own path.

Practice is the day job of the musician, it is not always fun, and sometimes be very frustrating.   Sometimes, it can be a lot like data entry, as we input the information into our heads.   For myself, I found that discipline, and stability have lead to my greatest improvements.

Before I get into the meat of working on pieces, I like to start with stretching, away from the piano.

You can find information on the internet about stretching, but I find it important to stretch:

• Shoulders
• Back
• Arms
• Fingers

It helps me feel loose and less tension, and since I plan to play much longer while practicing then I would for a performance, I have done well to avoid a lot of injuries this way.

So now, on the piano, I start right into Rachmaninov....Totally kidding, I prefer to start with scales, with the metronome.   I only work play 3-4 scales a day.  Put find it important to play them slow(around 69 on the metronome) and fast (108 on the metronome).    For the obvious reasons of getting my fingers ready, the slow practice, is to help control my sound.  To not let my body be ran by the adrenaline, but to finer control my pace.  Put the music back in the realm of the mind, and not the excitement of the body.  Music is control of one's emotion in expression.

One thing many pianists lack, is sight reading abilities, myself included.   I feel it is important to improve this skill, so I will learn something new everyday.  Play from a score I have not seen before.  With the internet, and websites such as imslp.org it is easy enough to find new music.   Or just find a hymnal and start playing from the beginning. 

Continuing in my next post, I will discuss how I work on a new piece.    I hope to hear your stories of practicing, and what people have found to work, and not work!  Please subscribe or Like me on facebook at:  http://www.facebook.com/jdhpiano

Practice time!! Where is my Martini!