Interpretation – Pianodao

The Schumann Effect

THE WAY OF PIANO • MIND • BODY • SOUL
Written by ANDREW EALES

In his Advice to Young Musicians, the composer Robert Schumann wrote,

“Consider it an abomination to alter works of good composers, to omit parts of them, or to insert new-fashioned ornaments. This is the greatest insult you can offer to Art.”

At face value, these are pretty strong words, implying we cultivate a reverence for music notation and rigidity in performance. In his exposition of Schumann’s thoughts, however, the cellist Steven Isserlis wisely suggests,

“Schumann’s general point here is that we must avoid inappropriate additions or alterations to the musical text… Some composers have left us specific instructions, which we have to follow to the letter; others, particularly in earlier periods, have left most of the interpretative decisions to us. In much baroque music it is almost essential to add ornamentation at times; composers would have expected it.”

The pianist’s unique voice

The Fermata Series

THE WAY OF PIANO • MIND • BODY • SOUL
Written by ANDREW EALES

When considering the great pianists who inspire me the most, I often wonder what qualities make their playing stand out as a unique and important legacy, and usually answers come quickly. But equally, I find that those I teach often convey their distinct personality through their playing.

How can we develop our own individual, personal voice at the piano, speaking on behalf of composers, but with our own unique dialect?

Playing French Baroque Music

Pianodao Articles • Key Topics

THE WAY OF PIANO • MIND • BODY • SOUL
Written by ANDREW EALES

At a recent piano recital, I started with the very beautiful Chaconne in F major by the early French Baroque composer Louis Couperin (1626-61), uncle of the better known François Couperin “Le Grand” (1668-1731).

For most who were in the audience, it will have been their first encounter with the music of Louis Couperin, and even those with an interest in the early French Baroque will perhaps never have heard this music performed on a modern piano before.

Dating from the seventeenth century, this music was originally written for the harpsichord (or clavecin as the French knew it) and while later Baroque music such as the keyboard works of J.S.Bach and Domenico Scarlatti have found their way into the piano repertoire, the music of earlier composers is rarely heard outside of specialist “Early Music” circles.