There are many benefits in listening to the repertoire you are working on, on disc and in concert, as well as “listening around” the music – works from the same period by the same composer, and works by his/her contemporaries. Such listening gives us a clearer sense of the composer’s individual soundworld and an understanding of how aspects such as orchestral writing or string quartet textures are presented in piano music, for example.
Conversely, hearing a performance which I may dislike is never a waste of time. When I heard Andras Schiff perform Schubert’s penultimate piano sonata (in A, D959), a work with which I have spent a long time in recent years, I found myself balking at certain things he did to the music – not that anything was “wrong”, it was simply not to my taste. But one thing I took away from that performance was his pedantic treatment of rests in the first movement (Schubert uses rests to create drama, rhythmic drive and moments of suspension or repose) and this definitely informed my practising when I next went to the piano to work on the sonata.
Most of us are limited by our own imagination, experience and knowledge and great performances and interpretations can broaden our horizons, inspire us and inform our own approach to our music. But listening at concerts, and particularly to recordings and YouTube clips does have its pitfalls too.
Recorded performances capture a moment in time and while they can certainly inform our playing, they can also become embedded in our memory and may influence our sense of a piece or obscure our own original thoughts about the music. This may lead us to imitate a magical moment that another performer has found in a note or a phrase – a moment over which that particular performer has taken ownership which in someone else’s hands may sound contrived or unconvincing.
The other problem with recordings is that some performers may take liberties with the score to make certain passages or an entire piece more personal. This tends to happen in very well known repertoire, where an artist will put their own mark on the music to make it their own, while not always remaining completely faithful to the score. They might take liberties with tempo or dynamics to create a certain “personal” effect. Thus, some recordings may not truly represent what the composer intended, yet these recordings have become the benchmark or “correct” version.
So when we listen we should do so with an advisory note to self: that recordings and YouTube clips can be helpful, but we should never seek to imitate what we hear. It is the work we do ourselves on our music which is most important, going through the score to understand what makes it special, and listening around the music to gain a deeper understanding of the composer’s intentions so that our own interpretation is both personal and faithful.