Anderson - Pianists craft 2 - mastering the works of more great composers.

The Pianists Craft 2

The Pianists Craft 2

Mastering the Works of More Great Composers

Edited by Richard P. Anderson

Rowman & Littlefield

Lanham Boulder New York London

Published by Rowman & Littlefield

A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc.

4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706

www.rowman.com

Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB

Copyright 2015 by Richard P. Anderson

All rights reserved . No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review.

British Library Cataloguing in Publication Information Available

Library of Congress Cataloging-in-Publication Data

The pianists craft 2 : mastering the works of more great composers / Richard P. Anderson.

pages cm

Includes bibliographical references and index.

ISBN 978-1-4422-3265-5 (hardcover : alk. paper) ISBN 978-1-4422-3266-2 (ebook)

1. PianoPerformance. I. Anderson, Richard P.

ML700.P532 2015

786.2'193dc23 2015013038

The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.

Printed in the United States of America

This book is dedicated to the memory of Reid Nibley,

an incredible artist, a true friend, mentor, and colleague.

Foreword

The chapters presented in The Pianists Craft 2 offer the reader an intimate opportunity to experience the personal journeys taken by some of the most distinguished pedagogues and performers of our time. These chapters reveal detailed analyses of the composers compositions and more importantly enlighten the piano student/performer with solutions to successfully achieve the means by which to express the composers musical messages. The true meaning of the word technique , which is art and craft, becomes the end goal.

The music addressed here is perhaps less familiar to the general public at large and more familiar to the conservatory or college piano student. By no means does this negate the validity or substantial quality of these composers or their compositions. It underlines their broad range and, in the case of Faur or Cage, the subtler range of the pianos expressive qualities as opposed to the standard repertoire. Messiaens unique style of composing, on the other hand, challenges the listener and performer in ways that reflect a revolutionary new approach to classical music and piano performance.

It is invaluable to know what journeys pianists or teachers have taken to arrive at their current conception about a composition. For pianists, the technical and analytical knowledge needed for successfully achieving a high artistic level of performance is simply invaluable. These chapters go into specific detail about the learning process, leading to discoveries that can occur only as the result of endless hours or even years of study, research, contemplation, and performance.

Even in our modern age, where information is more readily available, nothing can replace the hands-on revelations that occur when the music of great composers is brought to life in sound. The compositions included in this volume are some of the most challenging to learn. The techniques required by the performer in many cases are equivalent to those of a versatile actor switching from Shakespeare to ONeill. Certainly, one cannot perform C. P. E. Bach with the same skills as the music of Barber, but it is very helpful to know that all of our composers discussed herein are connected by a certain linkthe pianowhich can indicate for us that the piano is simply a tool to express the composers intention. Readers can be inspired and glean great knowledge about these composers, but in the end they will still need to take their own journeys. This volume celebrates the infinite realm and universal expression of the piano.

Norman Krieger

University of Southern California

Preface

As pianists, we are constantly searching for new insights and understanding of the works we prepare, teach, and perform. We attend conferences, listen to concerts and recordings, practice, study, and analyze. One thing that significantly and consistently motivates me in my efforts to improve is the opportunity to learn from outstanding artists and teachers. Their perspective on piano repertoire always opens new doors of perception and understanding. Learning from someone who has lived with these works on a high artistic level lifts me to new levels that would be difficult to achieve otherwise.

So as it was with The Pianists Craft , the purpose of The Pianists Craft 2 is to provide an opportunity to learn from renowned artists and teachers. I wanted the chapters to be academically sound, but I also wanted to give the authors the opportunity to be intimate and personal so that their love for something that has filled their lives so completely would be evident in their words. I have certainly been able to sense this as I have worked closely with these wonderful artists and teachers, and I have no doubt you will, too. And as it was with the previous book, I believe readers will find articles that represent a fascinating variety of style and content. Some authors go into detail using one representative work, others have chosen to paint a broad swath of a composers oeuvre. To help with understanding, there are more than 250 examples and figures in the book.

I hope you will be as enthralled with this book as I have been compiling and editing its contents. These are marvelous musicians speaking on topics they know extremely well. It has been a privilege to associate with them, and Im grateful for all that they have taught me.

Acknowledgments

A huge thank-you to Kathryn Zabriskie, who labored, literally, through her pregnancy to transcribe the majority of examples, many of which were very difficult, and to Mark Zabriskie, who took over for Kathryn when her baby arrived. Also a thank-you to my colleagues on the piano faculty at Brigham Young University, whose artistry, dedication, support, and friendship have been sources of inspiration for many, many years. And, finally, a deep thank-you to my dear wife, Susan, who is always unselfishly and unwaveringly supportive.

Introduction

The notes I handle no better than many pianists. But the pauses between the notesah, that is where the art resides.

Artur Schnabel

This volume, like The Pianists Craft , is meant to be an aid in grasping the art that lies between the notes by considering what surrounds them. The contributors were given the freedom to discuss composers and their music from a viewpoint that has come from an experience that is threefold. One, they have applied themselves to years and years of in-depth study. They know the ins and outs of these works and all the background that goes with them. They know and understand what lies between the notes. Two, they have taught these works multiple times. As every teacher knows, every time you have a new opportunity to teach a great work, new insight and understanding will be found. And three, as I tell my students, the most important growth of a piece comes when we begin performing it. These authors have vast experience in performing these works. They have mastered them. Because of these three things, I feel what they are teaching should not be taken lightly. I have learned a great deal studying their chapters and striving to help them say it in the best possible manner. My own understanding has been greatly enhanced, and I hope this book will help you in the same way.