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Where does the pianist stand in relation to the composer? Philippe Lamouris - Master in Music - Piano and Composition2015
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RESEARCH PRESENTATION WHERE DOES THE PIANIST STAND IN RELATION TO THE COMPOSER?
Philippe Lamouris Master in Music – Piano and Composition
Introduction Where does the pianist stand in relation to the composer? -Who is more important? -Is it 50/50? -Should the performer always respect every note and sign in a score, and use the recordings made by the composer himself as an important source?
Introduction Why is research important? Why do we need it? • Finding answers to questions and difficulties • Inspiration
• To get new ideas, learn from other artists
1st Recital • J. S. Bach: Toccata in d minor (BWV 913)
• The choice between organ and harpsichord, Gould and Richter
• F. Schubert: Sonata in G major (D.894) • The “1 hour” sonata
2nd Recital
• L. van Beethoven: Sonata in e minor (Op. 90) • Playing a string quartet
• A. Scriabin: 5 preludes (Op. 74), 4 Pièces (Op. 56)
• Different characters • C. Debussy: Reflets dans l’eau, Bruyères
• The teacher at the piano
• B. Britten: Night Piece • The Leeds competition
• Ph. Lamouris: Image-Homage • Image-Homage
Concerto
• A. Glazunov: Piano concerto in b minor (Op. 100) • The score from Russia
Research phase • The score
• Being able properly to read and grasp the written text of a composition ranks among the performer’s supreme skills” (A. Brendel)
• Recordings (historical)
• Tradition of piano playing (in different musical styles)
• Books and articles
The Leeds competition (Britten) • Score + recordings (no recording of composer himself)
• Written in 1963 as compulsory piece for the Leeds piano competition.
• Manuscript and sketches available (online)
• Link to Bartok: “Out of doors”
• “Soundscape” • Night-piece ‘is obviously composed by someone who understands
the sonorities and tonal resources of the modern piano”
The Leeds competition (Britten)
The Leeds competition (Britten)
• “The instruction vibrato reflects a seemingly eccentric view of Britten’s that this effect can indeed be achieved on the piano: it is a sign for the performer to complete the instruction with a gesture. The vibrato is the highpoint of intensity in the recapitulation, if not in the piece. It is as if a creature – an anthropomorphic human – has been trapped or wounded; it quivers before emitting heart-rending plangent sobs until with a final shudder it comes to rest on another fermata marked lunga.”
• (Christopher Wintle, All the Gods: Benjamin Britten’s Night-piece in context (London, Plumbago, 2006))
Different characters (Scriabin)
• “His new harmonies and strange sonorities are one of a kind.” (Igor Stravinsky on Scriabin)
• Ambiguous tonality – what does this mean for the performer?
• Tonal relations disappear (augmented and diminished chords give new possibilities)
Different characters (Scriabin)
• Prelude nr. 4 (Op. 74)
Different characters (Scriabin)
• Despite Scriabin’s small hands (he could barely stretch a ninth) he became a noted pianist.
• How and when can you play broken chords?
• The performing style of Alexander Scriabin” by Lelkin (contains analysis of recordings made by the composer himself)
• Recordings made by Sofronitzky, Neuhaus, Feinberg and Rachmaninoff.
Different characters (Scriabin)
Different characters (Scriabin)
Image-Homage (Lamouris) • Composed in February 2015
• I didn’t want to think about creating something new, something nobody has ever written before.
• Concept: To compose a piece I can play on my recital in June 2015
• Link between improvising and composing • Influences: Scriabin, Debussy, Britten and even Beethoven and
Schubert
• Aim: NOT to create an actual collage or homage, but to unconsciously pour my ideas into a composition
Image-Homage (Lamouris) • Composing time: approx. 2 weeks • Then I gave the score to the performer…
• Consciously studying and playing what the composer has written: notes, dynamics, signs, chords, etc.
• The composer was satisfied with the piece, the pianist had some other ideas….
• So what did I do? • Change the things I didn’t like as a performer and tried to perfect
the piece. Something you aren’t supposed to do as a pianist.
Image-Homage (Lamouris) • How should I play my own piece?
• Are my choices as a performer the best choices? Is somebody who can play it better or differently and will I like it?
• When I compose I don’t compose the piece for myself. I do not see myself as the only or best performer for the piece.
• I don’t have yet the satisfaction when I play my own pieces.
• What I do have is: complete knowledge and story of every single element of the piece. The meaning (my meaning) of every note and passage.
Conclusion
• This process gave my another perspective on the performance of the pieces the great masters wrote.
• This process helped me grow as a composer and as a pianist
Conclusion • What is your personal relation to the composer and his
music?
• Trying to find the balance between research and performance
• Be able to use research in performance
• Find solutions and answers
• Find QUESTIONS!
