Piano Forum

Hi Franzliszt!

There are very few (or none) totally objective ways to judge someone’s playing. I personally evaluate the “objective” quality of performance based on clarity of ideas and coherence. Obviously those are quite vague categories and my understanding of coherence is completely different from someone else’s. But here are some guidelines I apply to myself when I approach the piece:

1) Consistently of tempo -  but of course you are free to play slower or faster if it doesn’t disturb the flow of music. Usually, it would be ideal to compensate later for whatever micro-deviation you did (if you slowed down in the middle of phrase, consider pushing forward just a bit in the end of it - but please be careful with gradations)

2) fullness of tone - I want to feel that you are sharing the music with me. Meek sound doesn’t draw me in, but bangy sound will disturb me just as much.

3) I want to feel that you are in control of all the passagework (unless you are doing a piece that is extreme in its mood, for example Mephisto - Waltz no 1. But even in this I want to feel that you are in control of how much you are letting yourself to be out of control. Hope that makes sense.) When I listen to live performances I am ok with people missing notes as long as I don’t perceive nervousness or fear on their end. An important note is when you practice please try to hit 100% of notes, because only then you will feel confident in the passage on stage.

4) Especially with Chopin, it is important for me that you give me some of the spontaneity that this music is known for. However, as mentioned in the first point, it should feel like it doesn’t disturb the phrase (all the rubatos should add up). And the spontaneity should feel under control.

5) Now, pedal is complicated. I personally prefer pedaling that is not too clean because otherwise it gets hard to get all the beautiful overtones that piano has to provide. Some people like sterile pedal, which, frankly, I don’t understand. It’s better to be on a cleaner end for auditions, though.

6) the melody should stand out without being in your face. Otherwise my ear doesn’t know what to follow.

7) and again just being clear with your intentions. If you change the dynamic markings in a dramatic way, make sure that it is supported by the music. For instance, you have a section that has an accompaniment in 8th notes and then a section with accompaniment in 16th notes. If you slow down in the second section you should be careful because the composer probably meant the 16th note section to feel slightly more agitated than the 8th note section. Or, if you have a section that is all in the top register of the piano and marked pianissimo, but you decide to give it a fuller tone (let’s say mf), be careful because this register on the piano can sound more brittle. The markings also often have a structural reasons.

In general, you can do whatever you want as long as you stay in total control, which means - clear and consistent rhythm, confident passagework, clear pedaling, good balance, spontaneity without craziness, full sound, etc.

I really hope that helps!