A Fresh Perspective on Artistry by Lydia Artymiw

[crazy for ivan moravec]

(copyright Lydia Artymiw, 2006)
Posted with permission.


Recently, I had the honor of being on the jury of a world-renowned and
very
distinguished international piano competition where I heard seventy
recitals
in five days. The playing ranged from absolutely world class,
incredible playing to excellent,
well-prepared playing on a very high technical level to only a few
average
recitals), and I have been thinking a lot about what constitutes
playing of the
highest order - the complete artist - and what do jurors listen and
respond to when they have to evaluate so much playing during such a
concentrated period of time. Which is the playing that instantly leaps
out of
the bunch - the playing which is unforgettable?
Out of all of the recitals I heard, six pianists not only had me
sitting
on the edge of my chair but also thrilled me, kept me completely
involved
during their 40 minute program, and three of them actually moved me to
tears.

The first thing I did was to time how long it takes to recognize a
truly
exceptional performer. In general, the first impression takes about 30
seconds - either great, good, average, or bad - and in most cases, the
strongest players start well and get better. Certainly by about two
minutes,
the complete impression is formed.
So I decided to make a list of all of the ingredients which constitute
great
artistry. Each element is important and all must be there. If even one
is
missing, the magic "formula" is not complete.  Here goes:

1) *Sound*. From the very first note - sound is everything. The artists
are
those who possess sonic imagination (a broad range of colors and
variety of
touches), the pianists who can achieve both orchestral sonorities and a
true
cantabile, singing sound from the piano.
2) *Rhythm*. When rhythm is compromised, the living (and breathing)
aspects of
the music are lost.
3)*Fingers* - technique. Either there or not. The greatest players make
everything seem effortless - at the service of the music.

NOTE: Sound, rhythm, and fingers obviously work together to make the
first impression, but in every case
where someone had great fingers but bad rhythm, the initial impression
was already negative.

4)*Character, atmosphere, and mood*. This is where even some of the
greatest
technicians fail. Playing which does not project character, atmosphere,
and
mood has no meaning and will not sustain interest.
5)*Projection of line,phrasing, and direction*. Does the melody have
shape and
where is it going?
6)*Broad dynamic range*. The most interesting players are those who
have the
biggest dynamic range and are not afraid to play as softly as they
dare. And
their loudest playing is never percussive.
7) *Pacing.* One of the most important elements, which truly separates
the
"wheat from the chaff." In every case, the pianists who understood how
to
pace a long section which builds, in dynamics as well as tension and
drama,
to a big climactic arrival point, were the ones who not only always
sustained
interest but created incredible excitement in their performances -
sometimes
absolutely hair-raising.
*Awareness of rests *- as breathing points and punctuation and
sometimes
as moments of great dramatic tension.
9) *Sense of timing *- players who are musically aware always have an
instinct for timing - be it
for pauses, rubato, dramatic moments, etc.
10)*Delight in harmony*. Those players who relish and project an
important
harmonic change (or key change) stand out immediately.
11)*Different articulat*ions - including many lengths of staccato - and
the
cultivation of true legato (especially finger legato, not just relying
on the
pedal).
12)*Voicing of chords* (ties in with projection of line)and awareness
and
projection of inner voices - both equally important.
13)*Pedaling*: Many pianists do not listen to their pedaling and do not
make
the necessary adjustments. This can detract from an otherwise excellent
performance. Also, variety of pedaling - from fluttering the pedal,
using
quarter or half pedals (not full), and experimenting with all aspects
of
pedaling. Very important.
14) *Stylistic awareness *is also very important and must be part of
this entire package.
However, a stylistically correct performance which lacks musical
understanding and projection
does not really mean anything in the end and will ultimately be quite
forgettable.


Each of these elements must be there (and all working together at the
same time!)
But now comes the most important aspect of all:

What does the music mean to the performer? Can the performer completely
immerse him/herself so completely into the music and then communicate
and
project that meaning to the listener in such a fearless and compelling
way
that the listener is not only captivated but completely drawn into this
special world? The greatest artists truly love their music and are
compelled
to express that love to their audiences. And this is where "character,
mood,
and atmosphere" may ultimately be the most important elements after
all.
Music mirrors every possible emotional range: from humor, charm, grace,
and
good spirits  - to sweetness, tenderness, and intimacy - to brooding,
anxiety, passion, restlessness, and agitation - to melancholy,
yearning,
depression, and tragedy - to hope and optimism - and finally, to the
greatest
joy and ecstasy.

The greatest artists are those who both understand and are never afraid
of
communicating this vast emotional expanse. And those were the artists
who
moved me here and whose performances I will not forget.

[thierry13]

Wich competition did she judge ?

[crazy for ivan moravec]

sorry, i dont know myself.

[dnephi]

This was already posted about a month ago.  I emailed them to myself on the 21st of August.  Sorry.

Edit: I tried to find the link but I think it was deleted by you :p.
Sorry lol.

[lynbron]

How does she pronounce her last name "Artymiw?"

Lyn Bronson

[lostinidlewonder]

Good competitions tend to also record the works of competitors and the adjudicators can relisten to parts at their own will. I find trying to think of all of these elements listed above singulary is tough. Our overall judgement is controlled through past experience, that is what you personally have heard yourself and what you have studied yourself in this piece, this combines practically all of those elements which form a singular judgement. But definately this list cover a lot of what we are thinking about all simultaneously (through our listening experience of a good performance of this piece) while listening to a performance.

I also find sometimes when judging if one element of the playing is annoying to us, we will constantly be aware of it and thus our judgement can become bias. Instead of considering that as one element we see it covering the entire performance. So with thinking of singular elements, we can sometimes fall into a trap and make a bad judgement, getting caught up with one leaf instead of the entire tree.

I also think the control of the instrument relating to the size of the room is a fundamental point. Because sometimes people are so closely matched you can only sought them out by how well they project the sound out of their instrument in the size of the room that they are in. Those that play f too harshly in small rooms and those that play p too softly in large room, to strike up this balance with the room size is a sign of real mastery of your instrument.

[dnephi]

How does she pronounce her last name "Artymiw?"

Lyn Bronson

Artimiv, I believe

[amanfang]

What is the citation for this article?  Where did it come from?

[pianistlydia]

My name is Lydia Artymiw, and I am the author of the article "A Fresh Perspective on Artistry." There were some questions posted, so I will answer them. I was a juror for the First Jury for the 2006 Esther Honens International Piano Competition in June 2006, and this experience prompted me to write the article. It was intended for my students. My name is pronounced Ar-te-miu (I only heard the Artymiv version in Germany). My parents were Ukrainian immigrants, and I was born and grew up in Philadelphia. My principal teacher was Gary Graffman. My website is lydiaartymiw.com
Thank you!

[bryfarr]

My name is Lydia Artymiw, and I am the author of the article "A Fresh Perspective on Artistry." There were some questions posted, so I will answer them. I was a juror for the First Jury for the 2006 Esther Honens International Piano Competition in June 2006, and this experience prompted me to write the article. It was intended for my students. My name is pronounced Ar-te-miu (I only heard the Artymiv version in Germany). My parents were Ukrainian immigrants, and I was born and grew up in Philadelphia. My principal teacher was Gary Graffman. My website is lydiaartymiw.com
Thank you!

Wow - 18 years later - the old post is found and replied to by the author.  Impressive!
Thank you for replying - for bringing this wonderfully insightful (and well written) article to the foreground of the forum.  I'll never be an artist on the level described but having some guidelines like this (many of us adult amateurs work on our own) will be immensely helpful.
Thank you. Thank you!