First of all, a big thank-you to everyone who has helped make this young blog a success. No writer or performer can succeed without an audience, and the many visitors to this site have been a source of encouragement and inspiration. Feel free to leave a comment. All will be read!
Now to the subject at hand. The German pianist Walter Gieseking (1895-1956) was very meticulous in his approach to music study--and to the study of just about anything (one example: he was a keen student of lepidopterology, the study of butterflies and moths, having inherited the interest from his father, who was a professional in the field). Gieseking became controversial due to allegations of collaboration with the Nazis during World War II, although he was cleared after investigation by U.S. military authorities. Although his moral compass may or may not have been sterling, he nevertheless developed a remarkably simple, yet highly effective, method of studying music.
Gieseking outlines his system in the book he co-authored with his mentor, Karl Leimer, Piano Technique (first published in 1932, Dover Publications edition first released in 1972). Basically, his approach boils down to this: When you begin studying a new piece of music, you must study EVERYTHING about the piece. On the surface, this sounds like a classic "no-brainer", yet how many of us actually carry out these steps? Gieseking recommends, for instance, perhaps starting out away from the piano. You take note of the tempo of the piece, the dynamic level and ensuing changes. Each and every chord must be analyzed; the fingering of each note must be determined. Each melodic phrase should be analyzed and measured, carefully noting each interval between pitches. At the piano, matters of touch, balance and execution can be worked out. If it is a long piece, it can be broken down into manageable sections and the system applied to each individual section.
Anyone who has ever studied a musical instrument can immediately realize how daunting this system might be. Some pieces have thousands of notes. Yet, on the other hand, applying this method might actually be the shortest road to success in the long run. I can attest from personal experience that it certainly helps dispel nervousness: You know that you know that you know the piece.
Those who might say that Gieseking's method is mechanical and robotic, but I think it is fair to say that he saw his technique as only the first step to a finished interpretation of a piece, believing that all true creativity must rest on a solid foundation of skill and mastery. To apply his system to other subjects might require some adapting of his methods, but his advice overall seems solid and useful, regardless of whatever discipline we are engaged in.
In succeeding posts I would like to comment a bit further on Gieseking's approach, but the above is a quick snapshot. Thanks for reading!
Gary
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While there's no denying Gieseking's success as a pianist - his late 1950s recordings of Grieg's "Lyric Pieces" for Angel still sound great despite the ancient mono sound - I have to say that I can't imagine taking that approach to singing. I'd never produce a note.
ReplyDeleteWhen it comes to the performing arts, there are almost as many "right" ways to get results as there are performing artists. I'd be reluctant to fully embrace any one method.
I will have to look up the method you all are talking about but from what Gary has described I feel safe in saying that it should work as advertised. As a composer of some fairly long pieces(or at least the attempt to compose)in the piano concerto framework, I learned that you must 'live' with the work to complete it.
ReplyDeleteThis would transfer, in my mind, to the musician who is also learning a piece of music. As a singer myself I feel for what Chuck has posted because it is such an internal process to vocalize and phrase music for the voice. I would posit that if you did not separate the processes for too long, examining the music from the page and trying to get it under your fingers or into your voice, you would end up 'living with the music' and when the performance date arrived it would produce a very natural and free performance style.
I think one would have to determine the level that a given musician is at to use the method. Can the person analyze theoretically well enough to make it meaningful for the performance. If you do not know what the chord structure or progression is, will it keep you from turning the phrase better than you would otherwise?
Generally speaking, it should work for any musician to perform better because the number of surprises would be lower. Oops, where did that 5/8 bar come from?!....I must say that Chuck comment about right ways is spot on.....some folks just do not have to study as much as others or practice as much to perform at a high level of proficiency.....or like me are relearning an instrument after being away for a long period and are wondering about their sanity. Not a good thing, to wonder about your sanity, during the performance! Thanks again, Russell