I somewhat reluctantly admit that while I would gladly be first in line to burn a harpsichord to heat my soup during the French Revolution, I am beginning to understand the importance of it's continued existence today. It is fascinating to see that classic pianistic geniuses suggest that certain pieces be played on very specific instruments for a very specific sound. Also, the idea of practicing on different instruments to master different elements of technique seems like a completely grand idea, though certain elements may no longer be practical. While I certainly buy into the school of thought that all Baroque/Classical era music should be played on period instruments(if only because I would then be forced to listen to it), I definitely believe that it would be an important lesson in my life to invest some time fluttering away on the many different types of instruments that the great musicians of past eras have created the music of which I adore.
On a side note, I most definitely agree with Philip James and say wholeheartedly that from now on, I will refer to myself as a fortist. (See page 45 "Famous Pianists and Their Technique- Gerig)
As we read about the musical genius of someone like Mozart, I cannot help but notice the difference in the musical upbringing of someone from his era versus someone of my own (and not only because I was still trying to steal breast milk from my baby brother when I was 4). It is intriguing to imagine being able to play multiple instruments, and to be able to compose on the spot. Which brings me to my next question. Why are we, as pianists, not required to learn other instruments throughout our college education as well? Why is composition not a required course? And for that matter why have most of us never studied improvisation? If we are indeed trying to emulate and master the pieces of those composers which were cultivated under completely different circumstances, why not include certain aspects of these in our studies as well? Not to say that most of us will turn out to be musical geniuses, but on the contrary, we would be much more well rounded musicians.
How many times have we tried to imitate the bassoon, the flute, or a cantabile vocal line? Wouldn't this action make more sense if we had ever played a bassoon? What if we regularly sang a vocal lines and understood where the breath marks are, and where the high points of the phrases make sense? In an effort to understand the masters better, we must try to educate ourselves as much as possible in that direction.
On a closing note, I pessimistically end with a quote from Nicolas-Joseph Hullmandel, when talking about the new pianoforte:
"...All these complications indicate the imperfection of this instrument. It demands too much patience from those who play it..." (p. 45)
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Meara--I enjoyed your closing comments. I have lines that sound like a bassoon in my Beethoven sonata. It is difficult to project the sounds of these instruments on an instrument that is not like the one we are trying to imitate. I agree with you completely that we should try and educate ourselves as much as possible about other instruments and sing vocal lines, etc. When I was told to think of a bassoon when playing a line in my Beethoven, I think it was easier to understand that having continued to play a wind instrument myself through college. I know that information was instrumental to me in my understanding of that bassoon line. The majority of my singing that occurs in my car is not the most helpful when playing a cantabile vocal line on the piano, and can only imagine how much better my playing would be in these instances had I studied vocal music.
ReplyDeleteYes I agree with you on playing a variety of instruments. But I have to say that if we had to do all that, we would not be able to get really good at any particular one. I don't think that you necessarily need to play an instrument to know how it should sound or to be able to imitate it on the piano. Today, children are exposed to so many things and it would be hard to find a prodigy such as Mozart. In fact, I doubt if there would ever be such a genius again in our lifetime.
ReplyDeleteI agree with Mozart was indeed something that we will not see very often. My point was more that being exposed to more aspects of music can only create beneficial affects. I would suggest that we continue on with piano as our principle instrument, but experiment with other secondary, less prioritized instruments as well, during upper level study.
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