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Gretchen Saathoff

~ Collaborative Pianist/Vocal Coach ~ forging partnerships, making memorable music together

Tag Archives: collaborative pianist

Working with conductors

20 Thursday Jan 2011

Posted by GretchensPianos in auditions, career, collaboration, music, piano, variety

≈ 10 Comments

Tags

collaborative pianist, conductor, freelance, Music, orchestra

Thomas Dunn (musician)
Thomas Dunn ~ Image via Wikipedia

Collaborative pianists wear many “hats.”  On many occasions, we are required to switch from one mindset to another and back, all in the same day.

I have found that, while we have been trained to go from learning music to performing it as soloists, different skill sets apply depending on which “hat” we are wearing.

The requirements of orchestral playing

In orchestra auditions, instrumentalists play solo excerpts from the repertoire.  There is no lead-in ~ auditions are extremely nerve-wracking for that reason.  The musicians have practiced until every excerpt is flawless!  If a player drops a note in his/her audition, there is always someone right behind her/him who nails it.

How do orchestral players cope?

Some conductors are a good fit, others are not.  For example, some are terrific fundraisers, but their ability to relate to the players is lacking.

When a player has a contract, leaving for a better situation is a tough call.  There are very few openings, and auditions are always required.

Among the instrumentalists I’ve talked to​ and the interviews​ I’ve read, there appears to be a common mindset.  These are players in major orchestras ~ specifically, the Cleveland Orchestra and the New York Philharmonic.

The players I know of who are happy with their jobs practice for several hours every day, in addition to rehearsals.  They strive for perfection.  When a solo passage comes up in performance, it is their job to play it perfectly.

These players leave interpretive decisions to the conductor.  They don’t compete.  When a player has strong interpretive ideas of his/her own, playing in an orchestra becomes uncomfortable. ​ It’s not that a player would be inexpressive in rehearsal, but if the conductor has something else in mind, ​the change is made, no problem.

Orchestral players know that if one conductor’s interpretation is “unusual,” the next performance of the same repertoire may be with a guest conductor.  They do their jobs and go home.​  They play chamber music.  They perform solo recitals.  They teach.  They write music, articles, and books.

A musician’s training to become an orchestral player emphasizes knowing the repertoire over individual interpretation.

Orchestral player as concerto soloist

As a side note, when an orchestra member plays a solo concerto, sometimes a reviewer will mention that the playing needed more of a soloistic quality.  What someone does every day matters, and yes, there is a difference.  This is not a criticism ~ the two ways of playing are just distinct from each other.

Changing “hats” frequently is different

As a freelance pianist, I play with many different groups and individuals.  Some rehearsals have a conductor, some do not.  I play solo recitals from time to time, collaborate with singers and instrumentalists, coach singers, teach privately, and play many types of rehearsals.  (Those would include chorus, opera, musicals, choreography, staging, and yes, orchestra.)

Along the way, we learn to change “hats” quickly.  And, when in a rehearsal that isn’t going as we would like, we know there will always be a different, often better situation around the corner.

Do you work with conductors?  What do you do when you disagree with her/him? ​ Please share your ideas in the comment section below!

Many thanks to C.I. for the idea for this post!

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The “sensitive” accompanist

04 Saturday Sep 2010

Posted by GretchensPianos in balance, collaboration, concert, music, performing, pianist, rehearsal

≈ 6 Comments

Tags

accompanist, collaborative pianist, Music, piano

A Tennis ball Author: User:Fcb981
Image via Wikipedia

Sensitive?  Really?  Makes me wonder.

Let’s look at that word.

Visualize two performers on stage, one of whom is a pianist.  What are you expecting to hear?

Of course you want both performers to be together.  That aspect of a pianist’s performance could be described as “sensitive.”

But is that all you are there to hear?  Or do you expect more?

Do you expect to hear what the pianist is doing?

Do you expect the performers to be an equal match?  To have the same interpretation?

Do you want to hear the performers tossing musical ideas back and forth like a tennis ball?

Do you expect the piano to be the dominant part when the writing indicates that the piano part is more important?

When two people arrive independently at their own best interpretation,

then discuss,

rehearse,

and compromise,

the audience hears the exciting result.

When you stop at “sensitive” and don’t want “more,” this is what you get.

Wallpaper.  The pianist is in perfect sync with the soloist, but how can you tell, really?

The pianist has nothing to say.  No point of view.  May as well not be there.  Beige.  Goes with everything.

Playing so softly and benignly as to be described as “sensitive” is never appropriate, even in your own living room with the audience seated on your couch.

So when I hear an audience member describe a pianist as “sensitive,” I wonder.  Does that term come from not being capable of saying anything else?  Or was the pianist a missing link?

What do you expect to hear when you attend a performance?  How did you respond to hearing unevenly matched performers?  Please share your thoughts and experiences in the comment section below!

Thanks for stopping by, and have a great Labor Day weekend!

Be sure to check out my new E-book while you’re here.  Special sale ends September 10th!

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