unusual perfroming habits

[ludwig]

well... the other day I was listening to a girl performing... she had a wierd lip bite when she got to difficult sections of the piece, and she also had a very bizarre hand shift, almost like a withdrawl, very quickly when she lifted her arms... I was just wondering if you guys had any wierd performing habits, I usually do a wierd lip tightening.... also, what are the body movement that isn't natural that you've witnessed, like taught movements? just for fun :p

[dinosaurtales]

I caught myself drooling once.  Thank god I was accompanying a choir, so most of the attention was on them (i hope!).  I have no idea what horrible neuroses would pop up if I had to do a solo recital - gad!

[janice]

Hey. I don't have any weird habits in PERFORMANCE, but when I practice I talk to myself.  If I screw up I do it.  If I'm having trouble with a passage, I say one of these three things:1)  "Wait a minute"  2) "Hold on"  3)  "Hold on a minute".  I could be in a room all by myself, and I will still say one of these three things if I screw up.  But I've never done that in performance.  It was funny, once I played a duet with a girl from church.  I didn't warn her ahead of time.  We were practicing it together, and I said "Wait a minute".  I didn't think anything of it, because I unconsciously do it.  She stopped, and I kept on playing.  I thought that she had a lengthy rest or something, so I didn't think anything of it.  Finally, I started to get a little upset/mad because she wasn't playing.  She said "well, you said to hold on a minute."  Okaaay.  Once a repairman was at my house, and I was practicing and talking to myself.  He looked at me funny!

Speaking of performances, I did go to a concert where a young lady played a violin concerto.  She had long hair, and she was flipping it all over the place!  If she had a long rest, she would run her fingers through her hair.  I forget her name, I have a program somewhere, but her last name was hyphenated.  I would know it if I saw it.  I thought it was great!  I got a kick out of it!--Janice

[dinosaurtales]

This topic reminds me of a pianist - William Doppman - an excellent pianist who used to perform with Chamber Music Northwest.  Anyway, I don't know which kinds of passages caused it, but ocassionally he'd look kind of sideways at the music and his eyes would bug out - big time, Rodney Dangerfield style.  The suppressed laughter in the audience was incredible.  I haven't seen him in ages, but it's kind of too bad because it actually distracted from his performances.  He's an excellent pianist though, if you ever get to hear him- Seattle area I think.

[Diabolos]

I don't know if that's a strange habit, but I use to lift my left eyebrow when it comes to lyrical passages - sometimes even rhythmically (that's at least what people tell me); I certainly got some other habits, but I don't really care about them  

I think the most interesting performance habit I saw was on a video with Glen Gould; he uses to direct himself while playing, and that was really interesting and showed his devotedness to his music; he needed that to play as he wanted to play, and didn't care about the impression it would make, but about the music he'd create.

Regards

[MikeThePianist]

I was at a summer piano competition/festival at the Oberlin Conservatory of Music when I saw an unusual performance habit.  I was in the recital hall with one of the competitors because she wanted to ask me some questions about the acoustics of the space.  I sat in the audience and she started playing a Prokofiev sonata.  As she played she continued to look at me with her eyebrows raised, almost like she was asking me a question.  So...I started talking, explaining what I thought of the acoustics as she played because that's what I thought she wanted.  Then she stopped playing, and asked if I could hold my comments until the end.  Confused, I did so.  That night I went to her performance, and it turns out she constantly turns her head toward the seats and watches the audience!  It was EXTREMELY discomforting!  I actually left in between pieces because I was bothered by it so much.

Mike

[Anna]

Hello!
One thing I never understand is when people kind of swing their finger a little while they play long-value notes, as if they want to make a vibrato or something. It doesn't bother me, but I just don't get it- it's impossible to change the tone once you play it, no? I've seem several people do that.

I make facial expressions and I keep my mouth open while I play. I might look silly but I guess it's ok as long as it looks natural! I've also drooled before, to tell the truth (during the lesson!! but my teacher wasn't looking, or was pretending to be not looking!)

[ludwig]

hehe...funny habits. speaking of which, I saw a performance a while ago with a boy playing with his eyes on the keyboard... no no, you've heard me right, he had glasses that literally touched the keyboard... my mum was more nervous than he was cos she thought that they were going to fall off his head...also, on the miss US pageant once, I saw miss "something" play the piano for her talent show... wasn't that bad a performance until the end, she got up before she lifted her hands from the keyboard... sorta embarassing because she nearly tripped herself...

[ted]

No, I have a hard enough job playing as it is without expending energy on superfluous movements and idiosyncrasies. I sometimes get carried away during improvisation and move around a bit but nothing silly or grotesque. I try to keep my back straight because I think it leads to better playing. Occasionally I make grunting noises though - have to be careful of that when recording.

[MikeThePianist]

This odd performance habit might go under most embarassing performance as well.  Thank gawd it didn't happen to me.  I was watching the Michigan MTNA High School competition.  This young guy was playing the Grieg concerto.  It was really awesome, actually.  For some reason he had decided to where a digital watch while he played (I hate having things on my hands/wrists when I play).  During the cadenza, as if on queue, the alarm on his watch went off.  He stopped quickly, turned it off, and continued on his way as if nothing ever happened.  He didn't place in the end.  I don't think it was because of the watch, though.  He was awesome, but there are some kick-butt pianists in Michigan.

Mike

[dinosaurtales]

Speaking of making noises - I have noticed on a couple of my Alfred Brendel recordings that he hums to himself -I can hear it on a few really soft parts.  Makes me wonder if he does that in concert.

[MzrtMusic]

Has anyone ever noticed that Glenn Gould humms??? It's kinda funny to be really listening to a Bach fugue, and then hear this humming... Some people think that it was because he was autistic, but whatever makes him do it, it's still kinda funny!

Love,

Sarah

[STS]

hey Sarah, yeah, Glenn Gould does hum along while he plays on some takes.  He was an eccentric man, but a marvelous interpreter of Bach.  So are you a professional pianist?  How old are you and where you studying at?

HC

[MzrtMusic]

HC,

I agree that much of Glenn Gould's Bach is wonderful. I'm not a professional pianist. I teach, but i'm still in High School. I take from a private teacher. Not very interesting...

Love,

Sarah

[mahavishnu]

'Bout Glen Gould Fugue playing....I swear if he was playing a four part fugue he will be improvising a 5th part (with use of vocals! LMAO)

[rachfan]

I think when I'm playing Rachmaninoff and get into an especially lush part, I sometimes catch myself moving my head from side to side a bit.  This thread is a good reminder for all  pianists here, including me.  Mannerisms on stage never add to a performance-- they only distract.  The artist is positioned between the score and the audience, acting as an intermediary, interpreting the composer's intentions as accurately as possible.  Ideally, the performer should be invisible, and only the composer's music should be projected in the moment.  Years ago, for me Rubinstein in recital best embodied this ideal.  He kept remarkably still at the keyboard, employing economy of motion in all he did to wonderful effect.  It was a great lesson for all the other pianists in the audience.  

[ludwig]

Dear RachFan,


   Your last post was a very interesting one. You mentioned that a good performance of a piece is one that intepretates the composer's intentions in character. So movement distracts the piece and should not be encouraged, and that a performer should not be seen but be heard, therefor we do not need to see them produce the sounds. Then what's the difference in this and listening to a live performance on record, tape, or CD? Don't worry, I'm not trying ta be a pain, its just that, I think, a good performance of a piece should be a combination in the 2 elements of music you mentioned:

1st, a combintation of the composer's intentions and character in the piece, as well as the performer's own intepretation of the piece. After all, we do not know exactly what the composer intended for every detail to be played, and if we did, then why don't we just listen to the "standard" recording of that performer?

2nd, a live performance is to be seen, and I think that natural movement, should be encouraged to get into the "mood" of the piece, (or lack of movement I suppose if its a Baroque or Renaissance piece). However, I agree that "unecessary" movement should be discarded, it does distract the performance.

What do you think of this? Anyways, have a good time on the forums. =)

[tosca1]

Unusual or eccentric performing habits can be a distraction to the audience.  Facial contortions  and excessive and unnecessary body movements are usually a hindrance to efficient playing and show insecurity and possibly  an overly tensed approach to piano playing. The stress of performance can increase such behaviour and it is something that I have always tried to eradicate when performing even at my modest level. Beauty of tone at the piano is best achieved through relaxed arm weight and I believe that superfluous muscular activity through facial grimaces and body gestures are counterproductive to technical ease and good sound production.

Robert.

[Colette]

Ever seen Andre Watts play live? he looks like he's going to have an epileptic fit. it is a bit distracting, but it certainly doesn't hinder his musical capabilities and there is not one bit of insecurity to be noted. his pianism and musicality make up for his unusual demeanor. so, i'm not sure if odd performing habits really affect the quality of ones playing. actually when i was younger i used liberal arm movements when playing romantic works, which was probably a bit over the top, but i had a teacher who told me to stop these movements at all costs and it left me with some really bad habits of tensing up my arms and trying to remain too still at the piano. so, i say performers should play with the music and incorperate the movenments of their bodies if they wish, just as long as the music leads the motions and not the other way around.

[franklindriessen]

Has anyone ever heard of Richard goode?  I heard him in concert a few months ago and he did much more than humm.  He mad a growling noise similar to a dog.  It was very distracting and i wish i had sat farther away from the stage.  And on top of the growling noises his eyes looked like they were going to pop out of his head.  Other than that it was a greaat performance.  

[rachfan]

Hi Ludwig,

I believe we're on the same sheet of music.  The competent executant making a CD in a studio or playing in a live performance in front of 2,000 people will likely use the same movements to produce tone, set a mood,  and execute technical challenges.  For example he or she will drop the arm on a chord for full sound; taper the end of a phrase with a slight lift of the hand; look upward a little in finishing a diminuendo; move the trunk back a bit to allow the arms to float during a pianisimo; lean forward for fff; etc.  The unnecessary and distracting mannerisms are pure actor effects: grimmaces, excessive arm movements, humming, etc.--things which add nothing to the performance and the aesthetic effect.  For example, I once saw Andre Watts play a Liszt Etude.  During an intricate section, he lowered his head almost to eyeball level with the keyboard as if he were lining up a billiard shot, then made a motion with his mouth like a fish blowing bubbles as he played each note.  I saw another pianist in a competition nearly breaking down in utter grief signaled with rehersed and agonized grimmaces while playing a lyrical phrase of Rachmaninoff.  Those things truly rob the composer, the work, the pianist, and performance of their effectiveness in my opinion.  So it's not the natural and useful motions I condemn, rather the inappropriate and grotesque mannerisms.  

[dinosaurtales]

I agree with you guys.  Everybody is going to have their own performing style.  For example, we saw Alexander Paley last fall - fabulous pianist! - and I realized at the end of the recital that I should have kept count of how many times he adjusted his glasses while he was playing.  It was really cute how he could be ripping like mad all over the keyboard, then find the right moment to adjust them.  That's what makes it fun to see different pianists.  It's only when it's a totally weird habit that makes it distracting in a negative way.  Haven't caught anyone farting yet.

[tosca1]

I have never heard André Watts play live but what I have heard from him on recordings I would say that he certainly can deliver the goods technically and emotionally. A live performance always has that element of theatre which is why the CD does not have it
all and obviously some pianists will want to milk that to enhance the thrill of their playing. Playing a musical instrument is a very physical activity and of course moving the fingers, hands, and arms and body will be part of this.  However, common sense will tell us that economy of movement is more efficient than extravagant gesture and lifting the arms high in the air above the keyboard only means that the performer has to get them back there to play the notes with an increased risk of inaccuracy and untidy playing because of  the distance from the keys.

Robert.

[Fasolatido]

Okay. In high school this dude used to play with his head really really close to the piano. He wouldnt miss a note either but if i tried to do it, i you know, that just didnt work for me. he would like, put his ear up to his fingers like he was listening or something. it was kinda annoying. and now i know this girl who looks at the ceiling and up into the air like she can actually SEE the music. its weird, you can tell shes completely seperated from the audience. like the audience dissapears to her when she starts playing. im just a stiff motionless person when I play. except when i mess up, than i get the "ouch" face.

[DarkWind]

Has anyone ever noticed that Glenn Gould humms??? It's kinda funny to be really listening to a Bach fugue, and then hear this humming... Some people think that it was because he was autistic, but whatever makes him do it, it's still kinda funny!

Love,

Sarah

I've read that if you listen closely, he is actually improvising another voice for the fugue. Although I can't verify, since I have not listened to any of his recordings with the humming.

[Goldberg]

I try to avoid unnecessary motions as much as possible...but I just recently realised something quite bizaare as watching a movie of myself. I do some pretty strange stuff with my lips, it seems, and nothing else. I kind of move them around as if talking, particularly in difficult sections, but I rarely emit a sound (rarely, but I suppose it does happen every now and then; usually a very soft hum or grunt). I'd kind of like to stop the lip motion, though. It looks pretty ridiculous...and to think, for 5 years no one's ever told me!!

On the other hand, I also realised that the rest of my face seems oddly uninterested in the music, no matter what piece I'm playing. Not like that's particularly bad.

[Brian Healey]

I do that too, but only when I'm improvising (jazz). I don't do it when playing classical stuff. For me, I'm trying to sing the music in my head onto the instrument. I've found that it really focuses my playing. My improvising ability improved tenfold when I started doing ear/singing exercises (singing a line, then playing it, etc.). Sort of like Keith Jarrett, except I don't do it loudly and obnoxiously. I've never actually seen myself play, so I don't know how ridiculous it looks, but I'm sure I look like pretentious tool. I don't care, though, I like doing it.

[dinosaurtales]

My teacher SWEARS I don't do anything weird or comical while I play.  She SWEARS she'd tell me if I did, BUT I've caught myself with my tongue sticking out, and I chew my lip sometimes.  Don't know how much, though.

[JK]

I used to stick my tongue out when I was playing a particularly tricky passage, my teacher said it made me look gormless, so I made sure I didn't, its hard to play Rachmaninoff seriously if your toungue is sticking out....! I did once see a concert at the south bank here in London and the pianist had a very annoying habit of just poking his tongue out a little bit and looking up, he also would stare whilst playing at a very specific point on the ceiling, in fact, and this is no joke, he stared so intently at it that I actually, not deliberately, felt inclined to look as well to try and see what he was looking at! Oh and I have a slightly strange habit when i peform, cos I have really bad eyesight I have to wear glasses when walking out, especially if there's an orchestra there as otherwise i would probably fall over a music stand or something, anyway the problem is i don't like playing in my glasses so i have to take them off when I sit down and I usually put them on the piano somewhere, very odd habit not good if your glasses fall into the piano....

[hodi]

i get close to the piano when playing highly melodic and slow passages
lately i have also began to sing the melody while playing (i don't know why but it helps me, but i rarely sing while practicing anyway)

[galonia]

I mutter to myself or hum parts as I play - it helps keep me focused, and it's usually not a problem because I keep it under my breath.

Although once, I made a very big stuff up and I needed to pull myself together and said audibly "Don't worry about it, keep going."  Usually I'm an advocate of the "pretend it didn't happen" school of thought and carry it off very well! - but this time it was a hugely obvious error and there was no hiding.