You appreciate this caricature of Mozart in Amadeus when you listen to the obscure works in his catalogue. We know the hundreds, thousands of melodies from his best known genres: operas, symphonies, piano concertos, sonatas, string quartets. But there’s so much out there that we never hear. Last month I was listening to several of the flute quartets, this month I listened to the Church Sonatas (sometimes called Epistle Sonatas).
I can’t imagine many people have listened to these works, some 17 short works written mostly when Mozart was a young professional church musician in Salzburg. I will admit that when I saw this genre, I assumed they were some inconsequential choral works, written for immediate practical use in the liturgy.
It turns out, these Church Sonatas are mini-symphonies. They seem to take Sonata-Allegro form, and use small forces: a few instruments with continuo. Some recordings play one instrument to a part, how Mozart would have heard them, but some, such as the Daniel Chorzempa album on the accompanying playlist, use filled out orchestral forces. On a few occasions, the organ continuo takes a soloist role. Who knew that Mozart wrote organ concertos!
It turns out these works were written for a practical purpose: to fill ceremonial time between scripture readings in the liturgical service where Mozart served as church musician. These works probably were written in the same key as the Mass service used that day, Mozart was simply adding his style as an interlude to this sacred music.
But these pure orchestral works are excellent pieces. The themes are memorable, and are treated with the same compositional finesse we would expect from any substantial work by Mozart. Though short, these Church Sonatas are a trove of melodies that few Mozart fans get to appreciate. Realizing that these works exist lends credence to that fictionalized view of the composer in Amadeus: it was as if he was able to create melodies effortlessly on divine inspiration.
Last month I gave some of my personal history with Mozart. I wrote about hating him as a high schooler, and how i came around to loving him. There's a few steps I missed.
In my master's degree, I had a chance to study with Ann Chang at the University of Nebraska-Lincoln. She had studied plenty of fortepiano, but specialized in transferring this performance practice knowledge to the modern piano. So while there was a fortepiano there, and I got to epxeriment plenty on it, we worked on Mozart and Beethoven on a modern Steinway. I came to understand the language of notation that was familiar, presumptuous, in Mozart's day, how translation of that language became transmuted over time, and how we can capture aspects of the fortepiano on today's instruments. I even got to play in a masterclass by fortepiano and classical performance practice specialist, Malcolm Bilson; a true class by a master if there ever was one. He told me at the time that I understood the rules, but I wasn't a very good salesman for the cause; I had work to do to make these ideas convincing.
These were very influential ideas for me. Combined with my discovery of the Golden Age of piano playing, I veered towards contemporary music, because I was so dissatisfied with how pianists interpreted that music of the historical canon.
Then I became a contemporary music snob. My DMA is literally "in contemporary music", and I loved the program I was in. I've written plenty about how I believe in the importance of even the most difficult, abstract contemporary music (see all the posts under the 'contemporary music' category in the archives). But in becoming a advocate of this abstract music, I began to discount tonality entirely. I looked down on the tonal system as one of idiotic simplicity.
This attitude stemmed from my budding appreciation for complex atonal languages that composers of the 20th century have developed. My intellectual curiosity (as well as musical satisfaction) was piqued by composers who used very simple musical material to derive all kinds of music aspects: harmony, rhythm, form, etc. Of course this is not dissimilar to how classical composers created themes and developed them throughout a movement, or in the case of Beethoven, using motives to connect across movements.
But it was all so obvious in tonality. Especially with Mozart. Glenn Gould evidently said that Mozart could never write a proper development section, especially since he never had anything worth developing. I grew into that view the more I grew into contemporary music. Mozart's music was so easy to like that it wasn't worth liking.
I'm not sure what changed that attitude. I finished my DMA in May of 2015 and by that fall I was reworking Mozart's Sonata K 333 to have some good recordings of standard repertoire. Over time, I think I allowed myself to enjoy something whether or not it was intellectually satisfying.
And then the further out I've been from my DMA, the more I see the intellectual underpinnings of tonal composers, especially Mozart. I've been reading Charles Rosen's The Classical Style (which will be the subject of future posts!) and he is able to make incredible connections between obscure aspects of Mozart's music, for instance, how the accompaniment in a piano work becomes the melody later on. Or subtle shifts in Mozart's Sonata forms which revolutionize the sense of drama.
Just because something is 'easy on the ears', doesn't mean the music can't have deep intellectual underpinnings.
I've loved the music of Kaija Saariaho for several years. Her music has always sounded Debussy-esque, except more lush and sensual. She's one of those living composers who I expect would speak to those uninitiated in contemporary music. I played her Ballade for solo piano on one of my doctoral recitals and I loved how she created this lushness with intricate textures and requiring more than a little subtlety with the damper pedal.
Her opera L’Amour de Loin comes from the year 2000, and has the distinction, as unfortunate as it may be, of being the first opera by a woman produced by the Metropolitan Opera in New York in over 100 years. I got to watch that production through the Met on Demand service, but I've attached a recording to this post in lieu of a production.
The story is set in the 12th century, which seems appropriate to the musical style that we hear throughout. There's something archaic, gothic actually, about Saariaho’s music that seems so appropriate for that setting. I've read the synopsis before starting to watch that Met production, but I otherwise know nothing of this opera or its music. I followed along with a vocal reduction and English subtitles.
Immediately the vocal score seems almost unecessary. Saariaho's orchestrations are so isntricate, and texture so refined, that so much detail will naturally be missing. Given all that's left out, I'd still rather not be the rehearsal pianist! For my purposes, the piano reduction of the orchestra plays a helpful role. I'd like to have some sense of how she translates her sound pallette-which keep in mind, often makes use of live electronic manipulation of and in conjunction with acoustic instruments-to operatic form.
One criticism of contemporary music is that listeners have trouble knowing what to listen for. When you're not well versed in a musical language, it's hard for anything to stick in your head. Even I'm not going to be able to whistle Saariaho's melodies after one or two listens! Throughout the first couple “tableaux”, I felt like the relationship of the orchestra and voices was very consistent. So even if a musical relationship doesn't stick in someone's ear, this consistency allows the audience to focus on the words.
Here's an example: As I listened to the second tableaux, with the pilgrim’s first aria, I recognized the words “beautiful without the arrogance of beauty” from the main character, Jaufre, who sang the same words earlier. I jumped back in the score and it turns out that the melody is the same for both characters. I don't know that I would have made that musical connection on melody alone. The orchestra is different in both circumstances, which shows the versatility of her melodic material. But this clarity in which the words are set makes that connection obvious.
This same text comes back in Act 2, this time the pilgrim singing to Clemence. The melody is almost the same, same rhythm but slight variations in the intervallic content. But when Jaufre and the pilgrim each sing this in Act 1, the temporal action is very close together. Here, some time has passed, since the Pilgrim has travelled “afar” between these two presumably lovers-to-be. So the variations in the melody help illustrate this passage of time. The Pilgrim remembers the words used before but the melody is a little fuzzy. Again, these are all things I notice only because of the score, but it's a great example of a composer subtly tying the dramatic elements to the musical.
This is a noteworthy opera given that there are only 3 roles, plus an all tenor/bass and all soprano/alto choruses. So far the accuracy of all singers is extraordinary. The counting itself is actually quite straightforward, but the regularity if the heat is not obvious from the orchestra, yet the ensemble is very rhythmically coordinated from all singers and the orchestra. Of course this is memorized from all the singers!
Nowhere is the singer's artistry and accuracy more apparent than in The Pilgrim's aria early in the second tableaux of act 2 (see track 8 in this recording), where she sings Jaufre's love song to Clemence (later, the Pilgrim tells him that he “I mumbled them more or less", which is interesting regarding my 'passage of time' comment above'). Tamara Mumford sings The Pilgrim with such passion, and organic lyricism that one need not realize that the melodic line or it's rhythm is at all difficult. Of course, it doesn't hurt that Saariaho harmonizes and orchestrates this chanson hauntingly, recalling medieval harmony in parallel fourths and a lack of leading tone motion, but also not without some lush dissonances. Throughout, I find Mumford's performance to be the most enthralling.
Overall, I loved getting to know this opera, even though I listened to only about half of it actively. Saariaho created a beautiful score and she finds this nice balance between a consistent harmonic voice in her music while still adapting the vocal style and orchestral accompaniment to the drama at hand. This is something that made Mozart's operas so great. With such abstract music it is sometimes hard to get a concrete understanding what is going on only from listening. But, for example, in Act 5, as Jafre dies, all parts, chorus, soloist and orchestra, the pitch is always descending and then sitting low. A general understanding of the plot will indicate the word painting quite easily.
convince everybody, and I dare say that my approach to the music will evolve over the next two years.
To begin with, though, I want to listen to a Mozart performer who I love. Walter Klein was not someone I knew, actually. As I started to collect lists of pianists who had recorded complete Mozart Piano Sonatas, his name came up and I started listening, and was hooked. There is so much in his approach to Mozart that I admire and want to recreate in my own way. His Mozart is full of extroverted characters, obvious phrasing, and colorful textures. To get a sense of this, I thought I would focus on the Sonata which I'm learning this month: #1, K 279 in C Major.
You can hear nearly everything that I love in Klein's playing in the first few lines:
Overall, the thing I like about Walter Klein's Mozart playing is that he doesn't aim for delicate consistency. Many pianists underplay the variety that is in Mozart's scores, like they're apologizing. Klein does not. The first measure of the last system on the second page is quirky, the grace notes snappy and tempo rushing, before he returns to a melodic texture. Everything has shape and articulation, and those shapes are not even, smooth and rounded.
The Development of the first movement does not have quite the variety I'd have expected. The sequential elements are often played with the same momentum, rather than each measure phrased internally, as well as having a specific role in the entire sequential shape. But perhaps this is intentional; he's letting the harmonies speak for themselves. It's like this Development section is no-man's-land, harmonic anarchy, and such phrasing would be out of place without a tonal hierarchy. After all, he makes much of the harmonic differences in the recapitulation, where even in the first theme (bottom of the 3rd page), Mozart is making creative changes.
I've always found the second movement of this Sonata to be very awkward. The fortes and pianos seem rather arbitrarily placed (i.e. 3rd system, page 9), and many sections seem to disregard the time signature entirely (i.e. last two systems of page 9). But the phrasing taken by Klein makes the movement make sense. Nothing is very extreme here, the dynamics, nor the rubato. But he uses enough create phrases that have internal logic, and thus, the whole movement seems to make sense.
The finale begins with a typical 4-measure phrase. The second phrase begins with the same thematic material, but ends up as a 6-measure phrase. Klein makes this phrase sound normal by playing M. 7-8 exactly the same, rather than cheapening the repeated measure with hackneyed trick like the echo effect. M. 11-18, to contrast, is a typical 8 measure phrase, except it sounds uneven: Mozart fills these measures with nearly sequential material, except he always changes something: compare M. 13 and M. 15. Or take M. 12 and M. 14, which are sequential, vs. M. 16 which begins the same, but takes a new turn. In these instances, Klein plays up the subtle melodic shifts so that this typical phrase seems asymmetrical. Because his left hand is prominent, the extra quarter note on beat 2 of M. 16 makes the shifty composing unmistakable. Ignore left hands at your own peril!
Consider Klein's treatment of the repeated note motive in the second theme: measures 23, 25 and 27 each have repeated notes but each instance is treated differently in terms of dynamic and rhythmic drive. Nothing is monotonous, even though it looks monotonous on the page. This, in short, is what I love about Walter Klein's Mozart playing. It's full of vitality and variety, and perfectly encapsulates the operatic elements that I wrote about on August 6th.
Mozart wrote four of these works, and I’m listening to an iconic quartet-the Emerson-playing with Carol Wincenc, a flautist I’ve known of but never listened to before.
On first glance at the track listing, these do seem to be mini-quartets. Either two or three movements long, and glancing at the score, I don’t even see an obvious Sonata form movement, but several that are marked minuets, themes and variations, or rondos. Glancing through the score, these seem a little like mini-concertos, in that the flute has the primary melody most of the time, often with the violin doubling a third below, and the viola and cello providing chordal and rhythmic accompaniment. Not that this will be mundane: I’m anticipating Mozart’s great melodic abilities on full display here.
I’m digging in to the last of the 4 quartets, in A major, K 298 by following along with the score as I listen. I was surprised that I found the instrumental mix not very pleasing at first. Somehow the flute didn’t seem to sing out. But as I listened through the first movement, I grew more accustomed to it. This movement is a set of variations: the flute has the melody in the theme and first variation, then the melodic variation role works its way down the string instruments. I really liked the instrumental mix during the viola and cello variations. I actually liked the flute better in an accompanying role, where neither high treble instrument had a primary melodic role!
In the minuet movement, it’s such a joy to listen to the accompanying instruments, especially when all three strings take this role in the trio. Pulsating repeated chords can be so musical! And they play such a crucial role, not just as background sound but as integral shape and body to the sound world in which the melody can truly shine. This is akin to the left hand for the Mozart pianist!
The finale, a rondo, is true Mozart. The first two movements are very simple, straightforward, perhaps stereotypical classical era music. But the finale is chamber music. The texture varies, the instruments interact with each other. It’s a typical rondo form but Mozart is a little more inventive harmonically than he’s been in previous movements. When each instrument was truly an independent part of the whole ensemble, I really bought into the genre.
Upon reading up about these works a little more, I see that Mozart was quite a young man when he wrote these works-21, though of course he had written significant works at the time-and likely that he had written these for an amateur flautist, and in fact it seems these works were written mostly as busy work. Of course chamber music during his lifetime was never meant to be a grand concert work that a famous composer put his best work into. Perhaps it’s best to consider these flute quartets testing grounds for the great works he would produce throughout his lifetime. Still, the great performances I’ve listened to show that they are well worth their while, enjoyable to listen to once in a while, and surely very rewarding to play with dedicated chamber partners.
As I understand, the Flute Quartet in D, K 285, is the most famous of the set, and listening casually to it, you can tell why. The adagio movement is exquisite. Such a long, beautiful flute melody accompanied by pizzicato. This movement is a must-listen.
The funny thing about me dedicating 2 years to learn and perform all of Mozart's Piano Sonatas is that I used to HATE Mozart.
I had avoided playing him until my final year of High School. That year, my teacher had me work on several things to fill in some gaps: J.S. Bach (shamefully, I avoided him till that year too), Haydn and yes, Mozart. She had me work on two Sonatas, F major K 280 and G major K 283. I hated them, especially G major.
I was all about Beethoven and Brahms at that point in time. I liked bigger, meatier sounds. I liked the passion. Mozart was lean and gangly, light and frothy.
I remember working on that G major Sonata and declaring to my parents that he was the worst composer ever. It didn't hold together, there was no continuity. Thinking about the finale of that Sonata, I can understand why. Thinking back to what I wrote about Mozart and opera just a few days ago: Mozart writes differently for different characters. And, Mozart Sonatas are mini-operas. If those two things are true, then Mozart's piano Sonatas will feature many shifts of idea, texture and technique. It will seem discontinuous, but that's because the focus is shifting from one character to the next. I was expecting one continuous character, but what Mozart was giving me was a scene full of interactivity.
As for the passion...I just wasn't a mature enough listener, analyst or technician at the piano to hear, see, or perform the passion that was there. Mozart's music is passionate, but it's passion that requires nuance of dynamics, and shadings of rubato. With Beethoven, his approach to piano technique and texture practically writes the passion onto the page. In Mozart you have to search for it. That doesn't mean that Mozart should be subtle in sound, but that little of his passion is obvious just reading the notes.
Overtime, I came to appreciate Mozart one way or another. I worked on K 331, 332 and 333 at one time or another, as well as the Concerto K 467. As I became more aware of classical performance practice, the possibilities of Mozart's music became more and more real. As I studied opera, I understood how to connect that dramatic music to the piano. Eventually I developed a certain sound and approach to Mozart's piano music that I could get very excited about.
Thus, sometime in the spring of 2018, the idea of diving deep into a composer came to me. My first thought was actually Bach, but then the alliterative "Mozart in a Month" came to mind and I never looked back. I'm so excited to discover all of this music bit by bit, and to develop my sound, and revisit this composer again and again, always coming back to him with new ideas, better ears and more refined technique. I'm excited to listen to other works, watch operas, and read books that will illuminate style. I also want to explore the idea that Mozart is an essential element of human love and flourishing. I'll visit the 'idea of Mozart' every month, talking about what I've learned from him and hope to get from him as this project moves on.
We talk about operatic singing a lot in the piano world: we are supposed to take bel canto singing as our inspiration for beautiful melodic tone and phrasing. Sometimes I think people take that too far, especially applying it to Mozart's piano music, but I find opera incredibly beautiful and I usually leave an opera jealous that I just can’t do what those singers are doing!
Most people will agree that Mozart reached his peak art when he wrote operas. As I understand it, that's where he felt his greatest strengths were too, or at least that's where he would have liked to use his compositional talent most. What I love about Mozart's operas in particular is the variety is in his writing, he's really the earliest composer to connect subtleties of style to the character at hand, or the moment in the plot. This is the element of operatic style that I think is most applicable to Mozart's piano music. I care less about long fluid lines and more about variety, drama and character. Mozart's Piano Sonatas ought to be mini operas and contain the same variety of style and characters as his stage works.
Given the number and importance of his operas, I thought I'd best dig into Mozart's operas as I dig into his Sonatas. I've seen a few, live or recorded, and played many individual arias. But there are several lesser known operas I know nothing about, operas by Mozart and the larger operatic world.
Thus, every other month I'm going to watch and report on a new Mozart opera, how it inspires me and what I'm most impressed by. On alternate months, I'm going to dig into either an older, rarely performed work, or an opera premiered quite recently, in my lifetime. I'm very excited to hear 24 operas, from a master like Mozart or those who follow him, and track how my feelings on the genre, and how opera can impact my piano playing, evolves.
First up: Mozart's Don Giovanni. My wife and I sat down to watch a production from the 2010 Glyndebourne Festival, available on Amazon Prime Video. Who knew so many operas are available to there?
I love the world set by the overture; I don't believe I've ever heard this before. It's dark, and...sharp. The conductor doesn't shy away from the edges with sharp accents, so you get a sense of the “black comedy” aspect of this story right in the first minutes, before anyone has sung a note.
Mozart doesn't shy away from chaos; that was my sense of the very first appearance of the title character. There is so much polyphony between the three voices--Don Giovanni, Leporello, and Donna Anna--that you might expect a composer to avoid when introducing important characters. But of course I think that's the point. Chaos follows Don Giovanni and Mozart is simply making that apparent by stepping us right into one example.
Yet there is such simplicity elsewhere. When Don Giovanni is singing serenades, the melody is simple, smooth and easily memorable. Some melodies are fast and melismatic, not the kind that get stuck in your head but still passionate, such as Donna Elvira's long aria in Act II. Or take the Commendatore: upon his return in Act II, he sings largely in syllabic, repeated tones, befitting, since he’s now a zombie. Mozart is always adapting to the situation, and I'm sure there are many lessons from this when playing his piano music.
I'm struck in the famous Catalogue Aria (and many other places) by how busy the orchestra is. Of course, I've encountered this at the piano, but it's hard to appreciate how useful this is to the overall effect when you're on a single instrument (and trying to keep up). But I think this is key to the style. The orchestra plays a vital role in characterization, though Mozart lets the orchestra sit back in the accompaniment role often.
Similar is tempo. In Zerlina's Batti, Batti aria, her sweet, pleading, melody fits a gentle 2/4 meter for the first few verses before being transformed into a lilting 6/8 when she wins her husband back. Then Act 1 ends with such an accelerating ball of rhythmic energy, the frenzy of the situation is implicit in the music, not just the text. In this case, the meter doesn't change, and Mozart doesn't even change the tempo, only says to go faster.
This makes me question how much tempo variety is allowed in his Sonatas. If his operas are his most public genre, it makes sense that he might notate his musical ideas most fully. Since his Sonatas were much more privately minded, you might intuit that he wasn’t as careful to notate his musical ideas as well. Maybe there are situations where a drastic change of tempo is merited by a clear shift in rhythmic energy or melodic style.
Overall--I loved watching this entire opera for the first time. Mozart’s music is so full of life and energy, and I can’t wait to continue finding this peak artistic expression in his Piano Sonatas.
consistent control of everything: technique, sound, texture. But it’s much more predictable. It’s not even that it’s passionless: every variation has a certain individuality, but he seems more content to let Beethoven speak for himself, than Korsantia did.
Take the 3rd variation, very understated changes of register; both Korsantia and imagine sforzandos as if they were implied by Beethoven and Perlemuter has nothing jump out of the texture. The 4th variation, the right hand is virtually non existent, and it becomes an etude for the LH. In the 7th variation, written szforzandos are understated, he reads these as natural high points in a phrase rather than a sudden explosion of sound. In the 10th variation he creates a melody from the first 16thnote of each beat which isn’t much of a stretch, but makes it a far tamer variation than how I hear it.
Now in the 8th variation, this quality is such an advantage. I’ve spoken before in each previous post about the sound I’m after, and consistency is perfect in this place. I also love the shaping he gets in the left hand melody. It’s so hard to have a melody ofall quarter notes that still has direction and shape.
The 11th variation is so consistent that we don’t really have any staccato notes even though many are clearly marked as such. In the 12th variation, I admire his ability to so lightly shape the descending chords, but the interplay between piano and forte is so understated, you’d barely know that Beethoven wrote different dynamics here.
Several posts back, I spoke about different approaches to Fugues…Clearly Perlemuter is all about showing off the fugue subject wherever it is. I don’t mind this, but in episodes, where there’s no subject whatsoever, I find he quite underplays everything which I’m less of a fan of; something has to be the star. I really like the sensitivity to the shaping of the melody in the last ‘post-variation’; amongst all the right hand filigree, the melody is very beautiful.
(note: I've linked above to the entire album that this recording is on...the Beethoven begins on track 24, but you should take some other time to listen to more of Korsantia's recordings!)
The bass theme is played very strictly, with more separation, which I do like. Much like a Baroque style bass. I really admire how consistent he keeps this articulation in the following duets.
Oh-I love the cadences in the B section: I never thought of treating these so freely, or like a cadenza! What a fascinating mix of classical and baroque styles.
His a quattrois a masterclass in itself in style contrast.
I love his shaping of the repeated LH chords in the theme, there’s so much music and character in this subtle voice.
Variation 1-Great shading and subtle phrasing to differentiate constant 16thnotes. Variations with a single variation!
Variation 2- the variety in the first variation makes the perpetual motion of this one so exciting and energetic, not at all dull.
Variation 3- he really nails the style I was after in this variation, showing off the change in register
Variation 4-His LH articulation sounds like it should get annoying fast for its machine-gun like precision, but he has such long shaping in mind that it’s never dull
Variation 5-Again, he’s so subtle in his voicing, that you don’t realize he’s bringing out the polyphony until it’s happened, and you realized that although he began with a very narrow focus on the upper melody, he’s opened up the tapestry of texture.
Variation 6- I am so glad to hear a great artist be so flexible with the tempo…It’s not free, he’s just allowing himself to make music.
Variation 7- And again, he follows it up with a variation played very straight. I haven’t commented on all the cadenzas, but it’s worth mentioning here how impressed I am that he finds ways of extending nearly every single cadence in the style of the variation he’s in. Not to mention how he seamlessly works back into Beethoven’s text.
Variation 8- I spoke how I was aiming for a 3rdmovement of Waldstein color here, and he has that…There’s some smearing of the pedal but it’s very tasteful.
Variation 9- Props to focusing so much on the left hand where the melody obviously is…instead of the very difficult right hand. It may be easier that way!
Variation 10- this kind of near rhythmic dislocation is exactly what I’m after! Also, one of the most fun cadenzas, it sounded like we were headed to some modernism.
Variation 11- So here he’s rewriting the rhythm; the last eighth note of the first measure (and subsequent ones), is supposed to be two thirty-second notes, and a sixteenth rest, but he shifts the first 32ndnote to the end of the third eighth note of the measure…I love it though. It’s completely in line with the puckish character.
Variation 12- again, like variation 9, a master technician at work, this time particularly for how little pedal he uses. I do like a wash of pedal for the whole harmony.
Variation 13 I’m relieved that his tempo isn’t any faster here, but again, he makes so much music: the moving line, especially in the left hand is so well shaped. And props that he still chose to do a cadenza in such a difficult variation.
Variation 14- I love the voicing here.
Variation 15- in this and the previous variation, he a little more held back, just letting Beethoven’s notes do the work. That’s not a bad thing, nor is it bad that we get a greater dose of “Korsantia” in the preceding variations. I think it’s a true mark of artistry to show both sides in a performance: the performer’s own personality as well as the composer’s.
Fugue-relieved again that his tempo isn’t too fast. I’m probably a little slower, but in the ball park. I like how he lets little motives sneak into the fore, the spotlight is never in one place.
Post-Variations- I love the terraced build here, so when the 32ndnotes come the last couple pages, it really builds to a climax. That’s one apparent flaw of Beethoven’s in the piece…You get this crazy difficult fugue which ends in these climactic chords…but it’s not the end of the piece. These post variations can almost seem like a let down, but Korsantia does a remarkable job making this a true ending.
All in all, I’m astounded by this performance. So much individuality from the performer; it sounds so much like Beethoven, but I cannot imagine anyone else reproducing this performance. No amount of textual study to determine the composer’s intentions will create such a thrilling variety of musical moments. None of the variations feel like the one before, and the rather dull bass theme nor the repetitive form gets old, no matter how many times the same structure gets repeated.
I’m inspired by this kind of playing, not to reproduce it, but to find the depths of a piece so that I can put so much of myself into this piece as Korsantia did.
Following on the heels of my last two posts (one about how practice doesn't make perfect, another analyzing a recent Beethoven performance), it's worth noting one more thing:
All of our successes are a culmination of our entire lives up to that point, including successes and especially including our failures.
I mentioned in the Beethoven post that I'm quite terrified of performing fugues; that's a genre you can't get away from playing the piano. Here's the source of my terror: towards the end of my B.Mus in piano performance, I went through a string of performances where I had memory lapses in fugues. It didn't seem to matter what I did at the time, no matter how prepared I was, no matter how often I played without problems in the practice room, or for my teacher. I could not get through fugues.
Now, I know of several strategies to do better memorization work. The point here isn't how to do better practicing.
The point is that no matter how much better prepared I am today, I will still be worried about performing fugues in public. That makes every successful performance of a fugue that much more of an accomplishment. That makes every remembered note, every beautiful phrase or voicing that much more powerful to me. I think that playing on that knife’s edge allows me a certain kind of musicality that I wouldn't otherwise have. I would play differently if I didn't have that string of rough performances. Not better or worse, just differently.
The “failures” of my past make me, me, the pianist that I am today. That's the most valuable, distinctive, tool in my musical arsenal.
"Modern performers seem to regard their performances as texts rather than acts, and to prepare for them with the same goal as present-day textual editors: to clear away accretions. Not that this is not a laudable and necessary step; but what is an ultimate step for an editor should be only a first step for a performer, as the very temporal relationship between the functions of editing and performing already suggests." -Richard Taruskin, Text and Act