The process of selecting repertoire is complex be it for myself or for others.
The selection of concerto or chamber repertoire is a decision making process based on many interests. For example Brahms' piano concerto II requires an outstanding French horn player and an excellent cellist, and of course a fantastic conductor for a successful performance. All those parameters need to be in place before conductor, orchestra board and soloist make this repertoire decision. (Of course patrons' expectations, finances and many other factors play huge additional roles).
The selection of solo repertoire on the other hand should be easy since it's just the pianist, shouldn't it?
This is my list of some of the things to consider when selecting repertoire for solo performance:
- Will I be able to do both the work and the composer justice?
- What work fits exactly into an intelligently designed concert program already containing works X, Y and Z?
- Will my audience appreciate the composition?
- Do I?
- Can I imagine exactly how the piece should sound best?
- Will I be able to make the piece sound good and structurally tight?
So I try to look carefully at a work of music and its surroundings before committing it to a concert program. Every concert and every carefully crafted program either contributes to further tire classical audiences, or it contributes to pass on the incredible spark only live music can ignite.
Long haul flying has always been a substantial part of my life as a pianist. No long haul flight is easy to weather, put getting prepared for air travel before flying has enabled me to arrive feeling fresh and ready to play concerts and/or rehearsals even on arrival day.
Hello from the Southern Hemisphere!
This marks my fifth visit to the campus of North West University in the city of Potchefstroom, South Africa. My guest professorship was a lot of fun, and it was great to reconnect with the faculty and the students.
A modern grand piano features three pedals, each with very distinct abilities to change the sound of the piano. Being able to use these three pedals discerningly is an art form in itself.
This March I got to return to my old stomping grounds in Southern California. It was so good to reconnect with friends and to visit new places!
February has been a very engaging month for me so far filled with concert, festival and new opportunities.
Having recently returned from my 11th annual chamber music festival in Kaufbeuren, I realized again how important the role of music festivals for young musician really is.
The Holidays are such a festive time with lots of fabulous receptions, parties and events. I love cocktails this time of year. Let me share two of my all time faves with you.
Recently I got invited to come to China to perform, adjudicate and teach in December. This marks the second tour to China this season, which is shaping into a particularly exciting and busy one.
“How do you get to Carnegie Hall? - Practice, practice, practice!”
There is a lot of truth to this famous joke, but being a musician is not all about practice. Some aspects of our lives as musicians are seemingly unimportant and definitely less talked about. One of them is the question of what to wear on stage.
Enjoy the romantic beauty of Leos Janacek’s “A blown away Leaf” from his collection called “On an overgrown Path”