Old friends: Reviving Old Repertoire
Revisiting music one learnt last month, last year, or 20 years ago can be a wonderful
experience, like reacquainting oneself with an old friend, while also making a new
friendship. Picking up a piece again after a long absence can be extremely satisfying
and often offers new insights into that work, revealing layers and subtleties one may
not have spotted the first time round. One also recalls all the reasons what one liked
about the repertoire and why one selected it in the first place. It can be surprisingly
easy to bring previously-learnt work back into one’s fingers, and this ease is a good
sign - that one learnt the work carefully in the first place.
Concert pianists will have many pieces "in the fingers" which can be downloaded and
made ready for performance in a matter of days. This may include 20 or more piano
concertos (I recently interviewed a concert pianist who told me he had “around 50”
piano concertos in the fingers), most of Beethoven’s 32 Sonatas, many of Bach’s 48
Preludes and Fugues, plus other pieces which are ‘standard’ repertoire: Mozart and
Schubert sonatas, works by Chopin, Schumann, Brahms and Liszt, much of Debussy
and Ravel etc., and popular ‘standards’ from the 20 th -century repertoire. Careful
learning and preparation mean that repertoire can be learnt, revived and kept going
simultaneously, and deep, thoughtful practise is essential for ensuring repertoire
remains in the fingers (and brain) even if one is not practising it every day.
A work can never truly be considered “finished”. Often a satisfying performance of a
work to which one has devoted many hours of study can be said to put the work 'to
bed', but only for the time being. The same is true of a recording: rather than a be-all-
and-end- all record, maybe a recording is better regarded as a snapshot of one's
musical and creative life at that moment. This process of "continuing" means that
one performance informs another, and all one's practising and playing is connected
in one continuous stream of music-making.
Some thoughts on reviving repertoire:
- - Recall what you liked about the pieces in the first place. Rekindle your
affection for the pieces when you revisit them.
- - Don't play through pieces at full tilt. Take time to play slowly and carefully, as
if learning the piece for the first time.
- - Trust your practise skills. Be alert to issues as they arise and don't allow
frustration to creep in.
- - Look for new interpretative and expressive possibilities within the music. Try
new interpretative angles and meaningful gestures.
- - Don't hurry to bring the piece up to full tempo too quickly. Take time to
practise slowly and carefully.
- - Schedule performance opportunities: there's nothing better to motivate
practise than a concert date or two in the diary.
Frances Wilson is a London-based pianist, piano
teacher, concert reviewer and blogger on music
and pianism as The Cross-Eyed Pianist.
She is a reviewer for international concert and
opera listings site Bachtrack.com,
and contributes art and exhibition reviews
to US-based culture and art site CultureVulture.
She writes a regular column on aspects
of piano playing for ‘Pianist’ magazine’s online
content, and contributes guest articles to
a number of classical music websites around the world.