Piano Forum
Piano Board => Performance => Topic started by: ThePhoenixEffect on May 26, 2004, 10:45:54 PM
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I was recently reading a topic about Pop and Classical music which can be found here: https://www.pianoforum.net/cgi-bin/yabb/YaBB.cgi?board=stud;action=display;num=1081107771
So can someone further go on how you should handle the emotions of a piece?
Should you start out "neutral" and let the music arouse the emotion
or
should you let previous knowledge of the emotion that the music expresses to help bring it out?
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I would start in a state similar to the audience, and get emotional at the same rate the audience would. This makes the music the most understandable. Of course, this would depend on the music.- in a reflective work, play the first notes, like you are introducing an idea. Develop interest and build up emotion all the way to the end, and make the last notes enigmatic, as to leave the audience with a thought.
You can do the same in works as portraits of a situation. For example, Liszt's "Fountains of the Villa d'Este" are not a story type of work, but an in depth look at water and all it's qualities.- it starts out pristene, with simple patterns, develops a melody, elaborates on the melody, turns darker and warmer, builds up momentum, explodes with tempestuousity, and settles to the bottom, with chords that seem to go on forever, like life.
As performers, emotional playing is exhausting- emotionally. If I had to play for 30 minutes- emotional works of Beethoven, Liszt, Chopin, you name it- I would be so tired at the end of the first piece and wouldn't do a good job of the remaining pieces. Im still trying to find ways of fixing this problem..
donjuan
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I think stage presence also matters.
If the performer is charasmatic, I feel really excited and have the butterflies in my stomach. I am sure the performer is doing it with ease [or fails to show any sort of discomfort]. But anyway, I get the butterfly feeling through the entire program.
However, like donjuan said you should probably start at the same level as the audience. Just don't get the butterflies.
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Seriously:
The only emotion that is good for your playing when it arises is a slightly joyful state. Regardless of which type of piece you are playing.
Because in this slightly joful state, you have the real concentration and freedom of movement that you need.
All other emotions only distract and lower the quality of the performance.
The notion that the performer has to go through different feelings when playing is a layman's superstition.
Best Wishes,
Monk
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unless you absolutely couldn't care less about the work you're playing, there's no way you can play "cool". at least i can't. and yes, i feel exhausted after each work, and that's why i always place works different in state when i decide the pieces' order in a recital - i think if i have to change "the way i am" after each work, then i can get to the end of the evening.