I hope you all had a fantastic Christmas and I wish everyone a very Happy New Year. 2013 is shaping up to be an extraordinary year for me and I hope it will be for you too.
Yesterday I read an interesting article in the New York Times written by Anthony Tommasini regarding memorisation. You can read the article here. It refers to a new French movie called ‘Amour’ which features French pianist, Alexandre Tharaud who appears in a dramatic scene performing a Beethoven Bagatelle (Op.126) for his retired former music teacher.
We learn that the drama of the moment is apparently made more effective by the fact that Tharaud is alone in the scene conveying his prowess and consummate musicianship whilst being totally involved in the music and crucially playing without the score completing the ‘romantic’ concert pianist persona. Tommasini then asks if the trend for soloists to play from memory is in fact subsiding; concert pianists are using scores much more frequently during concerts over the past few years.
I have written several times on this subject here on my blog; Memorising your piano pieces and More memorisation tips. Playing from memory is a huge undertaking which does heap more pressure on an artist so there is no doubt that it can detract from the more important task of delivering a quality performance. Memorisation has been de rigueur for soloists since flamboyant virtuoso Franz Liszt developed the concept in the Nineteenth Century and many regard it as a form of showmanship. So is it now an outdated practice?
Recently I was invited to lecture on sight-reading and memorisation on a piano course held at the Yehudi Menuhin School. I will write more about this wonderful experience in a future post, however, it was interesting gathering together all my thoughts about this topic and delivering them to students of approximately Grade 8 and diploma level. I lectured in small classes and then worked individually with each student finding quick and hopefully painless ways to develop their memorising skills.
I have played from memory since I started playing the piano aged ten, so I don’t have many problems (although I make mistakes and have occasional lapses as most pianists do) but I do feel playing from memory allows the pianist to become completely absorbed in the music.
It may not be important to perform a piece in public from memory however memorization has so many benefits beyond the obvious advantage of knowing your piece very well. It develops all sorts of mind skills and has helped me considerably in other areas of work. It really does assist in cultivating razor-sharp sensory skills; Auditory, Muscular or Kinesthetic, Intellectual and Visual (I have written about these in more depth in the blog posts mentioned above). I’ve found these senses to be much more developed and definitely more reliable since working regularly from memory.
Young instrumentalists should be encouraged to commit music to memory just to be aware of the many mind skills involved. It is possible to ‘learn’ how to memorise, it is very much a mind process rather than a haphazard trick picked up along the way (many think you either can or can’t memorize but this is not the case). If you play an instrument (or you have a child you does) then try to learn one piece by heart and see for yourself how your thinking ability changes once you master the art of memorisation. It could prove to be a fortuitous new year resolution!
Clara Schumann (pictured above with husband Robert) who was one of the first female pianists to play from memory (photo courtesy of www.glessnerhouse.blogspot.co.uk)