| Author |
Subject |
Laura
Wichers
Registered
User
(9/30/00 11:16:37 pm)
Reply |
Memorable performing
On the way back from a rehearsal a
few nights ago, some friends and I got to talking about how to play
"like a pro." All of us have noticed that when we are messing around
in practice/lessons and just decide to let everything go, exaggerate
everything, that's when our teachers say "My goodness! I've never
heard you play like that! You sound great!"
After noticing
this, we also noticed that when we do all this exaggerating, we tend
to move around, make faces, etc, all the things you do when you're
messing around. It becomes theatrical, like it is not only a music
performance but also our acting debut.
So here's what I'm
thinking: Maybe it takes more ability to play musically without
having to use the aids of gestures/faces/stomping/grunting/etc, to
psych yourself up and get into the mood of a piece. An example would
be Mr. Starker. He definitely doesn't involve himself with
theatrics, but the music that happens is almost magical. There is
also Yo-Yo Ma. He most certainly gives theatric performances, and
they are still musical. But maybe the difference between a "That was
great" Ma performance and a "[speechless]" Starker performance has
something to do with the more personal level of a physically
nontheatrical versus the more public swaying/gesturing/etc. Maybe
the theatrics turn some people off. Maybe it doesn't require as much
imagination on the listener's part, so they are not as involved in
the performance and therefore are not as moved. I think that maybe
Starker (and it could be any cellist) has created something more
introspective, something he is very personally involved in, so much
so that he doesn't need to fling his head or contort his face in
order to 'psych' himself up to play the music.
I'm curious if
any of you have noticed similar things, and what you have to think
of my ideas. This is a bit difficult to describe, so if you think
you can flesh it out a bit, that would be
great.
-Laura
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susan
Registered User
(10/1/00 11:35:06 am)
Reply |
Re:
Memorable performing
I think you're right about the
theatrical nature of playing-- when you first start to make really
clearly shaped phrases it sounds ludicrous,(to you) but I think it
becomes more natural after a while.
As for moving, I think that
can actually help free up your tone-- if your motions are positive,
supporting ones. Rarely does a grimace help anything, 'cept my
indigestion. 
I
think that if most people tried to play sitting still like Starker
it would only hurt their tone, phrasing and everything, because we'd
have to be holding ourselves still, and that creates tension.
(remember at the congress when Starker told that girl she needs to
"move her fanny more"?) At the same time, if anybody tried playing
like Hank Roberts, they'd be in even worse trouble. (he's over 6
feet tall, wraps one foot around his endpin, and has the other knee
actually OVER the cello)
The trick must be to find what works,
like with the theatrical clowning, and then experiment till you know
which parts of it are helpful, which don't do much, and which get in
the way.
Unfortunately for me, one of the things that helps my
tone and phrasing is tears... a very tough one to experiment with,
if you know what I mean!
OH, and I almost forgot! Breathing-- it
seems to make a huge difference how you breath in relation to a
phrase, or whether you're breathing at all. Or whether you've
forgotten to exhail(my major problem). I spent an entire week
singing along with my piece and then trying to breathe regularely
with it, and it made a huge difference in my actual tone.
And
then I got a big cold and couldn't breathe at all, and now I'm back
where I started... go figure.
|
BA
Registered User
(10/3/00 3:51:31 am)
Reply |
Re:
Memorable performing
You are almost tapping into a debate
on 'extra-musical' factors- how someone looks, what you know about
them, etc factor into the audience's reaction. Things you wouldn't
notice listening to a recording without knowing the performer.
Do these things affect the audience perceptions?
Undoubtedly. Each artist makes a personal choice as to what they
will present to the audience in addition to their playing. Remember
Nelsova's deportment class? For me the key deciding factor is
whether something distracts from the music.
Heifetz was
accused of being a 'cold' player because he did not move around like
almost every violinist before or since. Heifetz was taught and
believed that to sway about would distract from the listener's focus
on the music. Someone complained to Auer (his teacher) 'When you go
to a Heifetz recital there is nothing to see. All you can do is sit
there and listen to the music!' 'Exactly' Auer replied (forgive me
if I've butchered this story retelling it from memory)
BTW, I
suspect that the reason your teacher feels that your playing is more
'professional' sounding when you are exaggerating is that when we
are students and still learning pieces for the first time, we tend
to be mostly concerned with playing the correct notes and rhythms,
etc.. It is only when a piece becomes second nature and our
technique comfortable that we are able to shape it towards our
expressive ends. In 'exaggerating' you may be manipulating the piece
in a way that makes your playing seem more mature, comfortable and
advanced. But I'm just guessing. Could also be that your teacher is
a big Ofra fan...!
PS- How was McCain? I was happy to be able
to be a contributor during the primaries. His wife seems stunning on
TV. Is she in real life?
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Laura
Wichers
Registered
User
(10/3/00 8:48:28 am)
Reply |
Re:
Memorable performing
Mrs. McCain is a wonderful lady.
Very nice, very well-spoken. I've met quite a few of the political
types, and Mrs. McCain is one of those few who is able to step down
off her pedestal and talk to students like "real" people. I was very
impressed by her down-to-earthiness, so uncommon these days. Her
husband called her on her cell phone during her conversation with
us, and he said "Vote early and vote often!" My sentiments
exactly!
-Laura
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jekerry
Registered User
(10/3/00 9:48:47 am)
Reply |
Re:
Memorable performing
Actually a friend of mine who loves
blue grass music and thought Yo Yo Ma was the only solo cellist came
over to my house last night. I played her a recording of Casals
playing Bach's 1st Suite, then of Yo Yo Ma. She said she liked
Casals' "depth", but thought Yo Yo Ma's notes sounded "cleaner" --
which was true, at least on that recording. Then I played her Jackie
DuPre -- and she was blown away. She wanted to keep listening and
said she'd never heard anything like it -- thought it had so much
feeling and depth and emotion. I feel the same way, that JDP is
amazing, but sometimes wondered if all her theatrics doesn't add to
that impression. My friend couldn't have known anything about that,
since it was a blind test (she didn't even know the names of the
people I was playing).
It was rather fun doing that -- since
she is a musician with 0 classical background, but with an open
mind.
Jane
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sarah
schenkman
Registered User
(10/3/00 12:53:24 pm)
Reply |
it's
not just audience perceptions
I think lots of people are
influenced by what they are seeing vs. what they are hearing - even
people who should know better. There's a conductor I play with
sometimes who is always mistaking a bad bow arm for good playing
because he likes to see lots of motion - yet he can't seem to hear
when something is out of tune.
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String4tetCellist
Registered User
(10/3/00 7:42:09 pm)
Reply |
Performance/Movement
I was accused at camp last summer of
moving a lot when I played. The funny thing is, I don't move at all
when I play solo stuff- just chamber music. The other students told
me I looked professional and my cello teacher told me I looked like
one of those pianists that starts moving around and around and gets
so he won't stop. But he thought the playing was excellent. I don't
think that it affects my playing to move a lot-I actually feel more,
I think, for the music when I move to it.
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Ponticello
Registered
User
(10/3/00 10:20:18 pm)
Reply |
Du Pre
on the Bach
For some reason, Du Pre has always
been my favorite to listen to on the Bach suites. Even more than
casals and much more than Ma.
It's funny though because I prefer
Piatgorsky and Slava on the Dvorak.
People have said that Du
Pre's emotional playing style conflicts with classical and baroque
period music but I think it's her type of playing that actually
makes is interesting to listen to from the perspective of a
non-cellist. I had to sit through a recital of the Bach 4th suite
last semester, the student played it perfectly but it was just SO
BORING!! Most people were falling asleep. I think if you are going
to play stuff like Bach and Haydn you need to put theatrics into it
to grasp people's attention
The only recording I can find of Du
Pre playing the Bach is the first two suites. I would LOVE to hear
her on the other six, does anyone know if she recorded them?
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String4tetCellist
Registered User
(10/4/00 6:48:15 am)
Reply |
du Pre
Bach
Nope. She only recorded the first
two. I don't have the recording though- I've been meaning to buy it.
She's my favorite cellist- how is the recording, though? Is she a
little too emotional for Bach, do you think (if the answer is yes,
it'll probably be all the more pleasing to me!!)?
And
Rostropovich? I've heard that he kind of imposes his style on the
Suites, but have never actually heard them. What do people think of
his recording of them?
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Ponticello
Registered
User
(10/4/00 8:11:25 pm)
Reply |
du Pre
Bach
I have her recording on the cd set
Les Introuvables of Jacqueline Du Pre. There are truly wonderful. I
honestly prefer her recording of the suites more than
anyones.
It's such a shame she didnt record the others.  I wonder
why?
Theres another cd that has ber on the Bach, I THINK it's
titled Her early BBC recordings
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