Do you think artistry can be achieved without inspiration ?

[m19834]

As I am approaching my next performance, I find myself feeling a bit bogged down with particulars regarding the mechanics of it all.  I find myself being worried over sections and whether or not they will click exactly how I would like and so on.  I find myself being caught up in whether or not I am going to be perfect.  The truth of the matter is, this performance will come and go whether the particular clicks happen in the way I would like them to or not.  Over this next week, I will keep practicing what needs the attention, but I have realized that I cannot drag my feet into this performance, just going through the motions.  Well, I guess I could drag my feet if that's what I allowed myself to do, but why would I perform at all if it is going to be drudgery ?

I have not felt inspired about this work that I have done in preparation (okay, that's not entirely true) and I do not feel particularly inspired about the performance, or at least not lately.  And at this point, I feel I need some inrpiration to push me over the wall or the hill or whatever seems to be in front of me.

So this started me thinking this morning as I lay awake in bed, waiting to get up.  What would my performance be like if I just dragged myself through it ?  I suppose I have just gone through the performance motions before, but I suspect these performances were not very "special" and were probably quite forgettable by the audience.  I doubt that people walked away from those performances thinking that they had experienced great art.

So, I wonder, is artistry achieveable without inspiration ?

It seems to me that it is not.  In practice, in learning, in teaching, in growing, I observe that I do spend a bit of time going through the motions, and once that starts happening, I begin to subtley wonder why I am doing what I am doing ?  Why put in the effort ?  What's the point ?  I think that sometimes I am willing to go through the motions as a pre-requisite to inspiration, like I am just waiting for the inspiration to strike and then everything will fall into place and when it finally does, I will have "improved" or "achieved" or "progressed" and all the motions that came before would pay off somehow. 

Something seems somehow wrong to me about that kind of living though.  First of all, are there really levels to inspiration ?  To me, inspiration is infinite and without limit, so how could there be times of inspiration and times without ?

In any event, I suppose my question still stands.  I have sometimes listened to recordings of myself playing from months (or even years) ago and have thought it sounds artistic and beautiful, when during the recording process it did not necessarily feel "inspired" nor artistic to me at all.

I would like to know your thoughts if you are willing.

Thanks,
Karli

[Bob]

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[omar_roy]

Though one may be motivated to achieve ultimate artistry (relative) through an outside inspiration, I believe that ultimate artistry must be achieved through inspiring oneself to do so.  We've all had our 12 hour days at the piano struggling through a particularly difficult piece that we decided to embark upon.  But what forced us into doing it?  A looming deadline for a class?  An upcoming performance for which we stupidly procrastinated?  Yes, we have experienced those.  But what about those 12 hour days just for the sake of learning music?  Not for a class or a performance, but for yourself.  To improve your musical understanding and musicality in general.  To rejoice in the beauty of the notes that you seem to forget as they sing so clearly in your head.  To simply lose yourself in the composer's stream of thought.

In my humble opinion, Artistry is not found in the concert in front of dozens of people.  Artistry is found in that lonely room with the piano beckoning to you.

[mike_lang]

In my humble opinion, Artistry is not found in the concert in front of dozens of people.  Artistry is found in that lonely room with the piano beckoning to you.

That is very touching, but good performing artists can do both.  They find the art in the practice room and then communicate it to those dozens of people, or even better, they find it in the moment in front of those dozens of people.

[gerry]

I don't know whether this helps or not, but don't kid yourself that all performing artists are "inspired". Many of them are in it (like actors and the like), at least in some part, for the ego trip--acclaim and applause. That can be a strong force for wanting to perfect a work and perform it in public. Karli, we are limited here on this forum to address your issue without knowing whether or not you are just in a "crisis of inspiration" or really in a depression in general. You sound really down. Is this just temporary or is it something that has been coming on for a while and affecting your whole approach to your career? If so, you might find it valuable to address this with a professional (as in doctor). Good luck.

[lostinidlewonder]

Oh how useless is life! Anything you do is useless and will seem useless. Even if you change the world you will look at it and say, it's not changing enough, in fact I haven't changed much at all, and it will be forgotten when I am gone.

You do things in life for yourself and for the greater meaning of your own existance. We all have a choice to do what we wish with our conscious thoughts and physical action. This freedom is the meaning to our life, to choose. Not to choose because of material gain, or appreciation of other people, but to choose for yourself what betters yourself, what makes you happy.

You don't do a musical performance to leave an impression on people. You do it because you love your music and want to share the sound with other people. What they do with it is none of your concern. Most musicians are perfectionists it is really what causes them to flee the public performances because they never think they are ready enough. The truth is most people wouldn't know the difference between good playing and great playing. Most musicians will argue with me that this isn't the case but unfortunately to laymen ears it is a fact.

After all you are sitting in a room alone studying your music much more than performing in front of an audience. That solitary relationship with your music is what is important, everything else is just extra stuff. If you start thinking, what can I materialistically get out of doing this, you are not thinking honestly. You learn music because it lets you express emotion, it takes you away from the hell that can exist in our life, it helps us understand the world we live in. Creating music has such a healing force about it that us musicians desire so much, we can also make that choice to share the meditative force with our listeners.

[omar_roy]

That is very touching, but good performing artists can do both.  They find the art in the practice room and then communicate it to those dozens of people, or even better, they find it in the moment in front of those dozens of people.

This is true.  I was being too narrow in my description, and only related where I feel the origin of artistry is, where it is born.

[gyzzzmo]

I think that the only thing you need is a good fantasy for 'artistry'. If i play something in some way, i think its beautiful that way and im not playing it that way because i get all inspirated by something.


gyzzz

[counterpoint]

"Artistry" is surely possible to achieve without inspiration.

But a really inspired performance is something, that can't be done - it will happen or it will not happen. Depends on the momentary situation of the artist, the listeners, the instrument, the acoustics, weather etc.

As a musician you should prepare for a performance as good as possible, so you have the basis for wonders to happen. If you are lucky they will happen, if not, you will present a well-founded and controlled interpretation. You cannot force wonders to happen.

[m19834]

wow, there are some wonderful responses in here !  Well, first off, I am certainly not dangerously depressed and I don't think I am actually depressed at all !  Thanks for the concern though.  I think one of the main things going on is that I have been a bit "overbooked."   Not just with concerts but with teaching and rehearsals and performances.  It's like I can hardly see anything if that makes sense. 

Omar and Lostinidle, you have helped to remind me of why I am doing this.  The funny thing is, I know I want to be doing it, yet sometimes I try to tell myself I don't want to (hee hee).  I think I am also just a bit nervous because this feels like one of my biggest outtings yet !  A big part of what makes it feel like a big outting is the repertoire that I am working with -- it's not a "safe" performance; it's a big, bursting barn burner and it will be a full house of expecting know-it-alls. 

In a very real way I guess I have realized that I do indeed need a little inspiration to see my way through it and over it, and that is how the topic developed.  But yes, even these know-it-alls will probably not know what I know about the music, not with the same detailed expectations.  And yes, that is no excuse to cut corners, but I don't feel like imperfection is really an excuse to stay off the stage.  How many people have given perfect performances ?  Even if they have, I am sure it's a bit of a surprise to them, too !

In any event, me aside, I find the topic quite interesting and the comments and perspectives expressed here to be eye-opening for me.  Thanks !  I would love to see more people add to the topic .


Karli

[goldentone]

I believe we need the inspiration.  In order to create music, at least great music, one must be inspired.  But for an inspiring performance, real artistry, it seems to me that one need only the music itself. 

We have our up days and our down days; we don't always feel inspired or taken or up to practicing.  Our inner musical ardor is not exempt from the fluctuations of life that can constrict its fountain at times.

Beneath the music itself, I think the necessary ingredients for inspiring performances are love of music and the desire to share that music with others.  The true artist need not fear if they are in an arid place.  The river will spring forth anew from the depths. 

[dan101]

As a composer, I need inspiration in order to create. Something has to trigger my wanting to write. I think that part of the trick is living life to its fullest... in this state of mind, inspiration is always close at hand.

[ted]

"Inspiration" has two or three different meanings. I assume you imply the meaning most frequently used, a heightened state of perception, usually with a strongly emotional undertone, wherein an artist feels an increased flow of ideas, both expressive and communicative.

Yes, I know meaningful art can be produced without entering such a state. Moreover, I doubt any consistency of mental state necessarily exists between creator, performer and listener. The mind of the first two impose what they will on the music and the mind of the last decides the meaning to ascribe to what it hears. Coincidence of these is probably a lot rarer than we tend to think. Anybody who records will surely know this. Sometimes we can record a marvellous session, only to wonder, a week later, why we thought it was any good. Conversely, and more especially with improvisation, we can record something we regard as "uninspired" during the playing, perhaps to the point of wanting to erase it, and be very glad we didn't the next morning.

Heightened states of consciousness will occur from time to time during playing and listening; indeed, with practice they can be quite easily cultivated. However, I have always felt it unwise to regard them as either necessary or sufficient. 

[electrodoc]

An interesting question. I was thinking about this myself - how does one switch on emotion for a performance even when one does not feel it. The appears to be sheer professionalism.

There is a story of the actor Anthony Hopkins. He was performing in live theatre and was emotionally involved in his part when one of the stage lights started to smoke. He immediately came out of the part and stepped to the front of stage to address the audience. He informed them in a perfectly normal voice that there appeared to be a fire on stage and that for reasons of safety the performance would be temporarily halted. The smoking light was dealt with and the performance resumed. Hopkins immediately stepped back into his part as though there had been no interuption. This is professionalism.

The British comic (now deceased) Frankie Howard explained to a group of friends that even a very short joke caused him much worry. How best to present it? He would rehearse in front of a mirror every little gesture, eye movement, tone of voice, etc. until it was perfect. It did not matter how long this took him but it hade to be exactly as he wanted it. Again a demonstration of professionalism.

It seems to me that the performing artist has to practice every nuance until it is perfected and almost cannot go wrong. Then, even if one is not felling emotionally involved, the unconscious mechanisms take over to deliver a convincing performance.

Keep at it until you are satisfied that you have perfected the work as far as you are able then go give that performance to the best of your ability. That is all that you can do.

Best of luck!

[slobone]

I think it's better to focus on craft than on art.

Every performer has an idea in their head of what they want the music to sound like. Craft means having the technique to reliably re-create that sound for the audience. If you have that, you'll at least never give a bad performance.

To go the next step, into art, you have to have something original and insightful to say through the music, and technique alone can't give you that.

I think "inspiration" is a whole different thing, and only happens rarely. Even great artists aren't inspired every time they sit down to play. When it happens it's magical, but I've only been at a few concerts in my life where I felt the performer was truly inspired. Murray Perahia playing the Schubert impromptus is one that comes to mind. Or Richter playing the Appassionata (on the live recording from the 50's).

[guendola]

I think inspiration always happens. You get inspired by the audience, the concert hall, the smell of the piano wood, the bright lights and hopefully by the music as well. But you won't necessarily realise it. And you won't be open for inspiration the same way each time you play.

Now, what is inspiration? It is a creative reaction to what you get while playing, it is communication with your environment (even the dust on the floor). The story of Anthony Hopkins is interesting but misleading. Of course he can mimic any mood in a split second, he is an actor. Same should apply to a pianist, only his expression comes through the music instead. This is not art, it is technique. But the way you apply your techniques to the music while performing (or even at home) and make subtle changes to how you normally play it is the result of inspiration. If you don't perceive what is around you, you can't be inspired and your performance will be "normal", not bad but certainly not great either. I think this is the hardest part of performing. Controlling the tempo, avoiding mistakes etc., that's just a matter of experience and dealing with stage fright. But being open for inspiration is a matter of maturity, preparation (enough sleep, not too much stress etc.) and health. You can prepare for it but you can't force it, it would be like planning to fall in love with a person that you have never seen before.