In the previous post about my past year, I mostly wrote about changes in my piano technique and the pianist’s loneliness. In one year, my perspective of the pianist’s job has tremendously evolved and my working life has changed drastically. Let me talk about four aspects of my work I had to improve and which have helped me a lot to develop my professional activities.
Journal >> 2010
Last year, I decided to take time away from the the music business. I needed to take a step back and breathe, reorganize my work, to work on me and set guidance for the upcoming years: I had to go from the relative liberty allowed by my studies to the total freedom I got in September 2009. This year seemed very short to me and was far from useless, I learned a lot, and I have been pursuing my research, but under my own and only supervision this time.
I’m sorry I haven’t written for such a long time! I had a lot going on and I will share with you today one of my current concerns. For several months, I have been thinking of a recording project I feel very strongly about. Except the program, the studio, and all the little hassles associated with the recording itself, the question of the label came up. Indie label, major or running my own label, all these solutions have their pros and cons. Let’s do a quick overview of these very different options to grasp the situation clearly.
Pierre-Arnaud Dablemont launches a new concept to make presenters’ work easier and help spread classical music : performances already funded.
Yesterday, my friend, the american conductor Jaemi Loeb inspired me a great night thinking about musical education. We were chatting over the phone and I told her I hate teaching piano. But since everything is never so simple, I realized that it was not really true. The fact is that I love sharing my passion with others, but isn’t teaching a way to share your passion? So how can I say I don’t like teaching while I like sharing my thoughts about music?
We all know the dutch fiddler and his orchestra dressed à la mode of XVIIIth century, but would his name be associated to a psychiatric disorder? Not yet officially, but it won’t be long coming. I noticed that many musicians and artistic directors were subject to the same symptoms that I have been regrouping under the “Andre Rieux syndrome”.
But what is it? To understand, we must first review Rieux’ recipe :
Let’s continue our series on interpretation and scores. In our previous post we have been discussing the issue of editions, today let’s focus on notation and its interpretation.
Today we continue our journey into the world of Schoenberg and his disciples with serial music. The term “serial music” is often misused as a synonym for “Twelve-tone music “or” atonal music “. In fact this term appeared with Schoenberg, Berg and Webern in the descriptions of works composed after 1920 which were making use of twelve-tone rows, but it was mostly used after the Second World War.
SIf you are an independent musician, contacting presenters is a part of your daily life. Apparently, it sounds as easy as calling someone and introducing yourself. But in fact, it is much more complicated than it looks. Contacting an institution or a festival to book a concert is often an obstacle course we, musicians, are not accustomed to. I will try here to give you some tips to imrpove your approach with presenters
A promise is a promise. In my first post about the score I told you that I will talk about the issue of editorial quality and the differences between editions. Text is our best source, and often all you can find about the music we want to interpret. In the case of a composer still alive you can always contact him to know his opinion about a detail, but in the case of Beethoven for example, it is a little late to ask him if a particular phrasing is in accordance with his thoughts.