how much TALKING to do in a concert

[cziffra]

a pianists job is not merely to play for 2 hours, but neither is it to talk- so how much talking do you do, and what about?

what is the proper "ettiquette" i suppose, for that sort of thing.  do you recite russian poetry like maria yudina? or perhaps campaign for tougher penalties for parole violators?

[eddie92099]

Jack Gibbons gave an all Gershwin programme at the QEH in London last summer and talked all the way through which was extremely interesting. He even gave a mini-lesson on Gershwin's technique for his solo piano arrangements. The added contextual information was well received and certainly made the event seem more like a presentation than a formal concert. It was a great evening . Piers Lane is also well-known for talking his way through programmes. I think anything that is relevant to the music is worth saying if you feel it is necessary,
Ed  

P.s. As you mention Yudina, do you know the story about her and Stalin?

[robert_henry]

Etiquette can bite me.  Etiquette looks back and we have to look forward.  We as performers have to change with the times.  

I ask myself, "Are audiences today educated about classical music?  Do they know the biography of Beethoven?  Do they know what sonata form is?"  The answer to these questions is NO.

Is it my job to educate them about these things at a concert? NO, because they came to hear music and to be entertained.

So, before each piece I'll tell them something interesting about it, why I chose it, was the composer drunk when he wrote it, etc.  I try to make them laugh.  I played a Respighi Nocturne one time and said, "I know two things about this Resphigi:  1. He wrote this piece. (they chuckle).  Number two, he's dead." (10 seconds of belly laughs).  About a year ago, France was being defiant during the UN debates, so I capitalized on that.  Before I played a group of pieces by Boulanger, I jokingly apologized for including French music on the program, and assured them it would be "painless and quick."  And then I close the first half with a humorous piece like Beethoven's Sonata Opus 14, Nr 2 and because they are comfortable being at the recital by now, they laugh out loud at the end of the second movement.  And people leave liking me AND the music.  To the average person, classical music and classical musicians are uptight, serious, and they feel intimidated because they are not cultured enough to appreciate it.  So, I speak to them to put them at ease,  to let them know it is okay to laugh at a classical concert, and to let them know that I am no different than they are.  Nobody wants to be talked down to.

That is not to say there aren't serious moments, too.  And I'll introduce those pieces accordingly.  

I have plans to perform the entire Annees de Pelerinage complete with poetry, period dress, geographically appropriate staging consistent with Liszt's travels, and lighting.  This will either be a mega-concert or a series of three recitals, I haven;t decided.

In this business, I think it is very important to communicate with your audience.  There is a wall there now between the general public and classical music.  We have to do what we can to break down that wall with creative programming, stage design, genuine, entertaining communication, and above all, artistic playing.  

Do I think I'm compromising myself by offering an entertaining recital?  No, because by definition we are entertainers anyway, and after all, I have the power of classical music on my side.  We are its ambassadors.  I know the product I'm "selling" is worthwhile.  And if YOU don't convince the public that classical music is worthy of their attention, who will?

Robert Henry

[eddie92099]

I have plans to perform the entire Annees de Pelerinage complete with poetry, period dress, geographically appropriate staging consistent with Liszt's travels, and lighting.

You can't play in the dark? Shame on you ,
Ed

[Noah]

It's funny, to all the concerts I've been I can't remember a pianist saying anything. How common is it ?

 
P.s. As you mention Yudina, do you know the story about her and Stalin?

The one where Maria Yudina and Stalin walk into a bar ?

[eddie92099]

The one where Maria Yudina and Stalin walk into a bar ?

I must have told you it already! Hilarious isn't it?
Ed

[Rach3]

Maria Yudina and Stalin walk into a bar ?

Excellent joke!  

I have never heard any pianist talking in performance either.

[GG]

Robert Henri, good on you for doing it so well they even laugh...
How big are your audiences? Are they big enough you need a mic?

[robert_henry]

GG, I can't tell if you are making a joke or if you are serious!  

Obviously, bigger crowds require mikes and I'll ask for one in advance.

RH

[cziffra]

didn't yudina send stalin letters about how much she disapproved of what he was doing?  

only person in the world who could have done that and stay in one piece.

all the concerts i've been to have had some sort of preamble before a piece, but never something like what you're planning with the liszt robert!  that'd be awesome- i'd love to see that.

[GG]

Robert Henri,
Why would I joke??? Well done, truly.

The question about the mic was because when the audience is small, it feels silly to have a microphone; when the audience is big, it's disturbing for them to have to strain in order to hear the talking. The question was simply where roughly would be the point where it would change.

[eddie92099]

didn't yudina send stalin letters about how much she disapproved of what he was doing?  

After she had made a recording of Mozart's 21st Concerto especially for Stalin. Her words were along the lines of "May God have mercy on your soul. I gave your money to the Church" (Stalin had paid her for doing the recording). Interestingly, when Stalin was found dead, the Yudina recording was playing on the record player,
Ed

[Jemmers]

I like the idea of a concert being more like a presentation than a concert. Sorta loosens you up.