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Belated London Premiere for Fanny Mendelssohn Hensel on International Women’s Day

As part of its special day of programming for International Women’s Day, BBC Radio 3 broadcasted a live performance of the Easter Sonata, a major piano work which until recently had been attributed to Felix Mendelssohn, but is now proved to be the work of his sister Fanny Mendelssohn Hensel. Read more >>

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Author Topic: Performance nerves.  (Read 195 times)
bernadette60614
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« on: October 18, 2017, 02:19:54 PM »

My lovely piano teacher hosts musical evenings every quarter during which each of her adult students plays a piece of their own choosing.

The longest piece I've played thus far was 3 pages, during which despite some nervousness, I was able to play reasonably well.

The current pieces on which I'm working are over 8 pages, and I find my nervousness increasing with every page.  I'm anticipating "slips", my mind is wandering and I lose the "music" in the music as it sounds increasingly as if I have to finish the piece before the last train to salvation leaves!

Any tips would be appreciated. Thank you, everyone.

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tnan123
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« Reply #1 on: October 18, 2017, 04:58:18 PM »

Can you clarify if you are performing via memory? For me, over reliance on muscle memory has caused me to feel the same in especially longer pieces.

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beethovenfan01
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« Reply #2 on: October 18, 2017, 05:37:43 PM »

Two things I've learned--

First of all, when you are memorizing in the way I believe you are, via muscle memory, you are setting yourself up for failure if your memorization is done any time less than 8 weeks out. That's about what nerves does--it you play your piece like it was eight weeks before the performance. Ideal? I think not. Believe me, I've learned how this can go wrong, the hard way.

The second thing is a solution to the first. Memorize in sections--phrase by phrase, measure by measure. I'm even experimenting with memorizing as I first learn a piece, rather than learning it by sight, then memorizing later. I haven't tried this out personally, but I feel like having a piece of music intellectually committed to memory, as well as in muscle memory, is far stronger than performing by muscle memory alone. I'm getting ready to a concerto competition, so we'll see how well this method goes ...
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Auditioning to U of O school of music:
Bach WTC Bk 1 No. 10
Beethoven Op. 81a (I.)
Rachmaninoff Op. 32 No. 10
Future:
Liszt Wilde Jagd, Dante, HR 6
Chopin Ballade 3
Beethoven Op. 57
Prokofiev
louispodesta
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« Reply #3 on: October 18, 2017, 11:12:04 PM »

My lovely piano teacher hosts musical evenings every quarter during which each of her adult students plays a piece of their own choosing.

The longest piece I've played thus far was 3 pages, during which despite some nervousness, I was able to play reasonably well.

The current pieces on which I'm working are over 8 pages, and I find my nervousness increasing with every page.  I'm anticipating "slips", my mind is wandering and I lose the "music" in the music as it sounds increasingly as if I have to finish the piece before the last train to salvation leaves!

Any tips would be appreciated. Thank you, everyone.


First of all, my Youtube video is entitled "Your Piano Teacher Taught You Wrong."

Next, my major teacher (the late Robert Weaver), spent 15 years teaching me how  to produce a "singing tone."

What he, nor any other American piano teacher (with the exception of two people) is that:   The playing technique of today's so-called Modern/Conservatory Method pianists is in no way representative of how the Composer/Pianists of the 18th, 19th, and early 20th Century originally wrote, performed, and taught this great music.
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