The Art of Programme Building

[opus10no2]

A very important subject, and one that's been covered before, but I'd like to add my own spin.

Firstly, there is so much awesome music out there, too much to appreciate even in a dozen lifetimes, so one must choose the pieces one studies with great care, but not necessarily with alot of time, if you know what to do(what I mean by this is that first instincts are often best).

I think it's a great idea to be practical, study pieces that go together with other pieces in a program, chances are it wont be neglected, and preparing music for a recital situation of any kind is a great motivator.

Do NOT put something in there that you don't truly love, make it a selection of pieces that you couldn't live without, make it so that whatever audience hears it is aware of your deep passion and care for the music you have chosen to present.

Anyway, on the the selection - variety and contrast are generally good ideas, but I don't think anyone should be afraid of breaking any rules.
Try to make sure the selection has a sense of progress, and a climax.

These are just scattered ideas, I'd like to hear yours too, and your opinions on great programmes that have worked for you.

[soliloquy]

One thing that bothers me is that people seem to be so hesitant to include any modern works.  I know so many pianists that play some greatly underappreciated or underplayed pieces but are afraid to play it because they "don't know if the audience will like it".  It seems almost like the contrary though.  Obviously just cavalierly tossing in some hyper-atonal work by Finnissy or something like that is not the way to go, but the works of Rzewski, Ligeti, Roslavets, Mosolov, Carter, Messiaen, Berg, Boulez (specifically Sonata No. 1 and Douze Notations), Vine etc. are no "worse" than Mozart K. 576, and that in contradiction to what these pianists think the audience quite often goes wild over them!  I'm just sick of seeing a program like say...

Haydn Sonata
Schumann Kinderszenen
various chopin etudes
Liszt consolations
appassionata
rach etudes


chances are, you're not going to give a performance of any of these pieces that anyone will go "wow!  that is the best interpretation ever!"  because everyone's heard all of them six thousand times unless you're Bolet, but in the modern works there is often no sort of interpretational rules that some music critic elitist has decided is the correct way to play the piece, so you're often freer to take more liberty with your own personal interpretation, plus it adds variety, and gets the music out there.

I also see some programs where nearly every piece is in a minor key, if not literally every piece.  That gets pretty boring.  There needs to be diversity on the much more fundamental levels I think than say "oh I have two romantic pieces so I need two classical pieces".  Keeping a diversity in the "color" or "emotion" of a piece I think is a lot more important when it comes to keeping the audience interested.  A diversity in eras of music is only fundamentally useful if you're trying to prove you can play music from all of the selected eras IE a competition, which a lot of people seem to get mixed up with a concert program.  For my own personal preference I often prefer concerts that have a theme, such as say something like:

Beethoven Sonata "Hammerklavier"
Debussy Etudes Book II
Boulez Deuxieme sonate pour piano (2me sonate is based on hammerklavier and the etudes)

or a program that focuses on one composer but includes pieces that contrast in various ways inbetween his/her works.  Or one that does one thing in the first half of the concert and something completely different after the intermission.  Although in doing these sort of things you have to be careful to not compromise the musical experience for the aesthetic of your programme booklet

In regards to length of a concert, I'm not very picky.  If I'm buying a ticket just to go see you though I'm looking for at least 75 minutes.  If it's a small festival concert then obviously it doesn't need to be nearly as long.  I don't particularly have a problem with very long concerts.  I know that Hamelin has performed some that were ferociously long, well over 4 hours if I am correct!  While I would certainly not recommend or personally attempt something like that, I would not have any hesitation going to a two hour concert if the music was good and so was the performer.

On the subject of encores, I really hate it when the encore is just some totally random piece.  I think it needs to somehow meld in with the rest of the program.  For instance, if you had played a Liszt piece somewhere, then I'm sure it wouldn't be very tough to find a liszt piece to use as an encore.  I always prefer something with some substance; frequently I will see that the pianist chooses a piece that is purely technical for their encore(s) which is entirely unnecessary considering there are plenty of pieces that have both substance and incredible technical feats.  I would much prefer to see Mazeppa than Grande Galop Chromatique.


Anyway, randomly I think that Jonathan Powell does some of the best programs, and I urge everyone to check out his website and look through them   They're always very inventive and contrasting.  Perhaps they will inspire those who might look at this thread for ideas.

[opus10no2]

I love alot of modern music too, but it's important for people to play what they love.

Someone with no affinity for a composer or era should not be forced to play it...attempt and try it by all means, but in the end it will just sound unconvincing.

[pianistimo]

i'm interested in this topic very much.  you can glean little tidbits from every program you keep.  just keep reading the liner notes and you'll glean the little bits of what the performer thinks is important about each piece and get a glimmer of why they programmed certain pieces together.  sometimes - i think it's about showing different types of techniques of piano playing.  other times it's to show a mastery of one style.  like  gould with bach. 

i feel that i actually learn the most about programming from symphony concerts.  wierd, i know.  but conductors are the hottest (brainiest).  where's paris?  anyways - they intuitively know more than the average pianist.  also, they have probably studied the score really closely and also read at least three articles on each piece they are performing.  that gives them inside information.  the more information you have about a piece - the more you can whirl it around your head.

side note:  i really like it when a pianist and vocalist do a duo recital (or pianist and instrumentalist join up).  the reason for this is that they can play off of each other and really give that critical edge (a few moments of relaxation between certain pieces) as well as blend the program together seamlessly.

very few pianists seem truly capable of 'switching gears' and playing all the repertoire back to back as though it is just another day in the park.

[amelialw]

yes I agree with the both of you. when you build a program you don't just simply smash a whole lot of pieces together. You have to pick a few pieces that tie in together. One good example that my teacher gave me would be
Haydn Sonata in E flat No.49
Debussy Doctor Gradus ad Parnassun
Rachmaninoff Prelude in G Op.32 No.5

[franzliszt2]

I agree with soliloquy. Not enough modern music gets performed. Ive only been to a few heavy duty contempory concerts, where nothing else was included and it is great, as long as you expect that. To many people these days want to hear what they have heard and stay in their comfort zone.

The problem in my opinion is that most people who attend concerts are not artists. They just want to be entertained. And nice tunes will do that for them. Modern music, like modern art is fantastic, and people just don't accept it becasue they are stuck in the past. Its the attitude people have as well. When a contempory piece comes up they go "oh this is gonna be atonal and rubbish". Why? Bad contempory music is just awful though, just like bad classical music. The thing is, we all know of Boulez, Cage, Birtwistle etc... because they had something to say. Most composers now just try to use modern techniques for the hell of it, and they get into concert halls. Local halls in most citys have an orchestra, and they always play the local university students or lecturers work. Well there is a small chance that it will be great, but a veryyyy small chance. So most people are exposed to that.

I would pay to see a pianist I like play anything. Even the most overplayed classics can really move you, but as solioquy said...it is not very likely at all.

I like themed programmes. Or full sets of piece ie 4 chopin ballades. I hate the random programmes.

[rob47]

brahms op. 76
Prokofiev 8th sonata

(go outside and smoke)

Beethoven op110

[mephisto]

Here is a program by Hamelin that I really like;

Hamelin - Live @ Miller Theater - NYC - 26 March 2002

Roslavets: Cinq preludes, trois etudes
Scriabin: Sonata no.6 & 7
Ornstein: Danse Sauvage, A la Chionoise, Sonata no.8

It focuses on a special style inside russian music(Ornstein can be discussed) influenced by Scriabin, and can be called Russian Avant Garde. Yet the music is very diverse. Probably one of the best programs I know of.

And I agree that Jonathan Powell has really good programs.

[cmg]

One thing that bothers me is that people seem to be so hesitant to include any modern works. 

 . . .the works of Rzewski, Ligeti, Roslavets, Mosolov, Carter, Messiaen, Berg, Boulez (specifically Sonata No. 1 and Douze Notations), Vine etc.

I wonder why you never mention the works of Alistair Hinton when you catalogue lists of contemporary composers? His comments on his own compositions would be invaluable here, I would think.  You seem to be on good terms with him, so perhaps you could ask him kindly to contribute to a thread that focuses on a discussion of his works for piano.

A unique opportunity for all of us interested in the compositional process, no?   

[soliloquy]

I wonder why you never mention the works of Alistair Hinton when you catalogue lists of contemporary composers? His comments on his own compositions would be invaluable here, I would think.  You seem to be on good terms with him, so perhaps you could ask him kindly to contribute to a thread that focuses on a discussion of his works for piano.

A unique opportunity for all of us interested in the compositional process, no?   

If you're so interested then why don't you do it yourself?  Are you intimidated by Alistair's vocabulary or something?    Anyway, Alistair Hinton is not what you would call a "major" composer, and most of his piano works are not particularly accessible to the pianist, IE very difficult.  And, Alistair and I have a love-hate relationship.  It's complicated

[cmg]

If you're so interested then why don't you do it yourself?  Are you intimidated by Alistair's vocabulary or something?    Anyway, Alistair Hinton is not what you would call a "major" composer, and most of his piano works are not particularly accessible to the pianist, IE very difficult.  And, Alistair and I have a love-hate relationship.  It's complicated

Well, I would do it myself, but ahinton seems to employ his filter on me.  I don't quite cross his radar screen.  But you, however, do appear on his screen.  He takes notice of your posts.

I would strongly disagree with you regarding his status.  He's an extraordinary composer who -- for reasons I don't quite understand (Scottish reserve? Good breeding?) won't aggressively market his wares.  I've only worked on one of his compostions (the Schumann Sonata transcription) and it is masterful and beautiful.  Inaccessible?  Not in the least.  Easy?  No, but pianistic and utlimately a joy to play. 

His works, certainly, are no less accessible than Boulez (that miserable music-fascist who's crippled the careers of numerous French composers who don't conform to his compositional ideals for almost four decades now) or Xenakis, Carter and other composers you routinely mention here.

And, no, ahinton's vocabulary doesn't "intimidate me."  In fact, as an individual who holds a degree in British Literature (specializing in Donne's "Holy Sonnets" and the late novels of Thomas Hardy), I find ahinton's use of English to be, well, intoxicating and fun.  He loves the language and uses it well.

Get over the love-hate thing.  He clearly respects your intelligence and knowledge and could use an ally of your generation to promote his works.

Let's get to know them and give Alistair Hinton, the composer, the attention he deserves.  We can be the winners, you know.

I'm counting on you.   

[pianistimo]

drink some red bull, soliloquy.

can't help my bad humor sometimes.  cmg - did you really also take british literature?  what is there you can't do or don't know about?

how do people get this way.  so smart?  what did you do?  never sleep.  just drink red bull, too and study for 10 years straight?

[rob47]

Well, I would do it myself, but ahinton seems to employ his filter on me.  I don't quite cross his radar screen.  But you, however, do appear on his screen.  He takes notice of your posts.

I would strongly disagree with you regarding his status.  He's an extraordinary composer who -- for reasons I don't quite understand (Scottish reserve? Good breeding?) won't aggressively market his wares.  I've only worked on one of his compostions (the Schumann Sonata transcription) and it is masterful and beautiful.  Inaccessible?  Not in the least.  Easy?  No, but pianistic and utlimately a joy to play. 

His works, certainly, are no less accessible than Boulez (that miserable music-fascist who's crippled the careers of numerous French composers who don't conform to his compositional ideals for almost four decades now) or Xenakis, Carter and other composers you routinely mention here.

And, no, ahinton's vocabulary doesn't "intimidate me."  In fact, as an individual who holds a degree in British Literature (specializing in Donne's "Holy Sonnets" and the late novels of Thomas Hardy), I find ahinton's use of English to be, well, intoxicating and fun.  He loves the language and uses it well.

Get over the love-hate thing.  He clearly respects your intelligence and knowledge and could use an ally of your generation to promote his works.

Let's get to know them and give Alistair Hinton, the composer, the attention he deserves.  We can be the winners, you know.

I'm counting on you.   

hahahahah best thing i've read on pianostreet in the last 20 years

[dnephi]

hahahahah best thing i've read on pianostreet in the last 20 years

hahah da rob...

What do you guys think of the Reger Op. 45 Intermezzi?