Liszt in concert (1842), by Theodor Hosemann (source)
It’s not memorizing that’s the problem, a friend said once. It’s having to perform from memory. This 2013 New York Times article discusses the controversy surrounding the de facto requirement of playing works from memory, raising the valid point that, up to the time when overachiever Franz Liszt decided to play concerts memorized, most concerts were performed with music.
In earlier eras there was composed music, which was always played from the score, and there was improvised music. Since performers were almost always composers as well, as Mr. Hough explained, for a pianist to play, say, a Chopin ballade from memory would have been considered the height of arrogance, as if the pianist were suggesting that he had composed the piece.
Read the rest of the article here.
What do you think about the tradition of playing by memory? Is it helpful, or harmful, or becoming obsolete?
A reminder of how even the greatest artists struggle with insecurities:
“The theater paper in Dresden recently wrote that my concert there was pretty much sold out–how shocking! And as far as improvising is concerned, I can take Willmers on any time. I’m scared to death about my trip to Paris; when I hear someone like Thalberg or Liszt, I always feel so insignificant, and I’m so dissatisfied with myself I could cry! If I had enough strength and could pull myself together, then I could accomplish much more, but I am too much in love; I simply can’t live for my music alone as Father wants; I can love music only through you, and that’s why I often have other things on my mind–you know what I am trying to say.” – Clara Wieck, to Robert Schumann, December 1838
Source: The Complete Correspondence of Clara and Robert Schumann, edited by Eva Weissweiler (New York: Peter Lang Publishing, Inc., 1994).
To DMA or not to DMA? In response to my own uncertainties about the future after I finish up my master’s, I wanted to start a series where I ask my older, wiser, cooler friends about their experiences with and opinions on the DMA. And then publish these responses in hopes that they will help others asking the same question. To read the first installment, click here!
This time around, my sweet friend Grace Huang volunteered her thoughts! Having finished her other degrees in Taiwan before coming to the USA for a DMA (which is now close to the point of completion), she offers a uniquely helpful perspective for international students. Continue reading
Eugene de Blaas, “The Friendly Gossips” (1901)
On Mozart: “My friends often flatter me about my talent, but he was far above me.”
On Liszt: “Liszt left me last night. One illusion after the other is vanishing as I go through life ; that pains me, not because I become more and more solitary, but because it makes one sad to regard with pity the things one used to look up to with awe and reverence and hardly dare to criticise. With his gifts of heart and mind Liszt might spread happiness around him — and in
spite of this he requires the most complicated machinery to hide from himself that he is, indeed, unhappy owing to his confusion of mind. There is a tendency to restlessness in his every action that has something unholy about it, in spite of all his moral aims. If only I could heal him!” (In a letter to Gisela von Arnim, June 1854)