Life as a "Page Turner"

[invisible]

I have done a bit of turning pages for people in the past number of years.  A good thing about it is that I have had opportunities to be backstage a lot, with experienced performers and observe how they go about their pre-concert life.  As a result I have learned quite a bit from this.  Also I have been having the opportunity to turn pages for some extraordinary pianists and sit on stage in the middle of incredible music-making.  I take any opportunities I can sneak in to just observe a pianist's technique whenever possible and again I have learned a good deal from this as well.

Sometimes these people are not very nice at all, and I don't get paid and it is quite stressful.  Do you think it is worth the experience all the same?  Does anyone have any tips on how to deal with performers who are anxious about their own work and not necessarily very nice to a person in my position? 



sincerely,
invisible

[galonia]

A couple of years ago, I turned pages for a pianist who was visiting Sydney from another city, and didn't bring his usual page-turner with him.  He was really nice, and on the day of the performance, I had just found out I'd failed an exam, and he was heaps encouraging and told me not to worry about it.

After the concert, I met the only other young person (i.e. aged under 50) present, and she said she was only there because she was hoping to meet people (other audience members) who might help her with a scholarship to study overseas!  She was a clarinettist, I think, but she was saying that she knows a few other young pianists who would give almost anything for the chance to meet these musicians, and also the old (and quite wealthy) patrons who were in the audience.

Also, at the supper, I did get to meet a lot of these audience members - if I had needed a scholarship to study overseas, this indeed would have been a great opportunity!

[sharon_f]

I have done a bit of turning pages for people in the past number of years.  A good thing about it is that I have had opportunities to be backstage a lot, with experienced performers ...

 Do you think it is worth the experience all the same?  Does anyone have any tips on how to deal with performers who are anxious about their own work and not necessarily very nice to a person in my position? 

sincerely,
invisible

I'm sorry I can't give you any tips but I did have an idea. Now, this may sound crazy, but have you ever considered writing about your experiences? Perhaps a newspaper or magazine article, or even a book? I would be curious to read it.

[invisible]

I'm sorry I can't give you any tips but I did have an idea. Now, this may sound crazy, but have you ever considered writing about your experiences? Perhaps a newspaper or magazine article, or even a book? I would be curious to read it.

Actually, that is a great idea!  Unfortunately I had never thought about it before, but I think I will keep a journal from now on.  It might be interesting in years to come, to read back on.  Thanks a lot 

sincerely,
invisible

[sharon_f]

You're very welcome. 

[Bob]

Journal on here.  Those seem to be pretty interesting and definitely add something to the pf site.

When I have turned pages I was so focused on not making a mistake I really didn't pay too much attention to the soloist.  I always thought it was a bit of an honor for the accompanist to ask you to turn pages since they had to trust you.  The page turner cannot mess up though.  For me it was "flip the page, look ahead to the next page turn, and hurry up and wait."  And then be sure to know where the end of the piece or the end of the movement is so you're not left standing up waiting to to turn the page when there actually is no page turn.  For me, page turning was work.  If I wanted a better recital experience, sitting in the first row with the score would be very similar to page turning but without the need to focus on when to turn pages.

I like seeing the music as it was played.  That's a different way of experiencing a recital.

I noticed how little professionals write on their music.

The soloists were usually in a good mood.  The accompanist could get a little grumpy.

[pianonut]

unlike Bob, as i've gotten older i get completely wrapped up in the music.  then, i say, a second or two before page turn 'ooh, i better turn the page.'  i grab three or four pages and lick my thumbs (making the accompanist bend their head sideways to read the last few measures), then i flip really quick (ripping the corner off - leaving it between my thumb and forefinger).  sometimes the page actually turns, sometimes it doesn't.  it's really according to how well the accompanist can 'blow.'  i find it MUCH easier to turn my own pages.  therefore, i have never made it my goal to be a page turner.

say, if an accompanist has a really bad experience with you (ie you turn three pages at once, you turn way too soon, or you just smile at them and forget to turn the page as they nod furiously) then they will never ask you again.  this ok by me.  now you see what getting older can be like!  yes, you get a bit frugal as to how much practice you will put in versus how much page turning fits into your career.  i mean who wants to write a book on 'my life as a page turner.'

some possible excuses:   'my ears were not engaged to the page,'  'was checking out the wax buildup in your ears,' 'do i still get paid?  i'll do better next time.'

for really bad treatment:  purchase a fan to set behind curtain.  as important climax of music comes up, walk over turn on the fan and yell 'i'm never turning pages for you agin - this isn't feudal europe you know.'

 

[invisible]

Journal on here. Those seem to be pretty interesting and definitely add something to the pf site.

When I have turned pages I was so focused on not making a mistake I really didn't pay too much attention to the soloist. I always thought it was a bit of an honor for the accompanist to ask you to turn pages since they had to trust you. The page turner cannot mess up though. For me it was "flip the page, look ahead to the next page turn, and hurry up and wait." And then be sure to know where the end of the piece or the end of the movement is so you're not left standing up waiting to to turn the page when there actually is no page turn. For me, page turning was work. If I wanted a better recital experience, sitting in the first row with the score would be very similar to page turning but without the need to focus on when to turn pages.

I like seeing the music as it was played. That's a different way of experiencing a recital.

I noticed how little professionals write on their music.

The soloists were usually in a good mood. The accompanist could get a little grumpy.

Yeah the only time I get to sit and sneak a peek at their actual playing is when I can see that it will be the end of the movement or piece and I won't have to turn for 1 or 2 pages.  So I just sit there and stare but try not to be distracting to them.  Would people on the forum really want to hear about this?

pianonut, your stories are quite humorous to me.

i mean who wants to write a book on 'my life as a page turner.'

well it might be a funny book, but my main aim in turning pages for these people thus far has been to gain perspective.  That will at least make for an interesting journal for me.


sincerely,
invisible

[pianonut]

yes!  i was really joking too much above.  seriously, there is a lot to be learned from turning pages for professionals.  for one thing, you get to hear a free concert.  and, like you say, learn all you can from them and how they present on stage.  usually, for seasoned performers, a small mistake in page turning doesn't have much effect.  but, like you, i really DO try to turn without incident.  it's something you have to be practiced at (to turn at just the right time, and not have your arm covering the whole right page).  so, dutifully with elbow up, head out of the light, quiet turn, sit back down if you had to partially stand up, and avoiding wearing a brighter color of clothing than the  pianist - i usually wear black) it's basically an 'invisible' role.  of course, if you do a fantastic job, you'll be asked over and over for this 'invisible' stuff (face straight, smooth moves, no panicking if you lose your spot momentarily).  if you are paid adequately (half the pianists earnings for the evening) i'd consider it a fair career move.  BUT, for most page turners it's just the prestige of turning pages for a great pianist.  i'd rather sit out in the audience and lose money.

[Dazzer]

Problems a page-turner can/will encounter:

1) a not-so-great pianist plays Chopin's Funeral March.
        - personal experience... i nearly fell asleep by the end of the 1st page.
2) the pianist plays a modern piece, with gazillions of notes a bar, and one bar per page.
       - also a personal experience
3) the pages are handwritten. Even worse when compounded with 2, as is a common occurance
       - enough said.

[pianonut]

that's good 

did you see the ad below for turning pages with your feet.  it's basically a scrolling function.  that sounds really good to me, being the independant sort (and having had pages misturned for me - either too slow or fast).  guess, that when you turn them yourself, you have no excuse.  of course, accidentally hitting the wrong pedal might make the sostenuto turn into a long scroll forward.

[Bob]

Yes, the page turning nightmare.  The page all looks and sounds about the same.  You realize you're not following it measure by measure (watching phrases is much easier) and at some point you will have to turn.






















The solution is just to stand up and be ready when the accompanist gives the nod.

[puma]

   I think an exciting book could be made about page-turning.  For example, the life of a page turner, with insights and experiences about a concert pianists' life from the view of the page turner.   The preparation needed to prepare for page turning.  The stress.  The mistakes made (or not made).  Living in the shadow of a great performer.  Almost like a book about bat boys or the ball boys in tennis - there is much work involved, and you have to pay attention, and so much relies upon them.  It could be done.