|
NIGHTMARES AND DREAMS: THE LIFE OF A COLLABORATIVE PIANIST AND SO YOU HAVE TO COACH AN ENSEMBLE: DO YOU KNOW HOW?
Jean Barr, whose extraordinary resume can be read on p.15 of the NEPTA program booklet, began with a short introduction about this being the year of collaborative music, YCM ("C" could also stand for Chamber). In Milwaukee, the Music Teachers' National Association held a special DAY for Collaborative Musicians, with everyone participating, faculty, staff, administrators and students, in all kinds of ensemble playing. Dr. Barr recounted the many benefits of practicing and performing with others. She said, "It's cool."
A violinist, a cellist and a pianist, all about fourteen years of age, had been selected from the Rivers Conservatory of Music. They came to the stage and Dr. Barr, brisk, business-like and sensitive, introduced them, rearranged them a bit, and asked them to play a movement from a Mozart Trio which they did in a shy, unprojected way.
Then Jean went to work. "What does 'allegro assai' mean?" She's energetic and bouncy, never condescending, asking for input from the performers, enlisting their good-will right from the start. "What sports do you play - your favorite?" "Then she makes an analogy between an athletic move and stance that relates to a move appropriate to their instrument. The violinist sat very straight and stiff.Dr. Barr asked him to stand and play, with his feet positioned to support upper body movement. She talked about using the whole bow.
Two cushions for the cellist gave her far better bow control and made her tone fuller and sturdier. Dr. Barr showed the pianist how to keep his repeated notes less prominent. Credit was given, e.g., "Your use of pedal was judicious, just right for this music," with a thumbs-up from the coach. A clever idea: she had each one make the signal to start. "We mustn't give the pianist the idea that he is always the important one" (Laughter all around). Each player cued the beginning, with a pre-down-beat in the time of the music. A point was made of knowing when your part is prominent and when you are supporting another. She had them learn how to line up and take a coordinated bow. The suggestion was made that the two strings might get together to work on intonation and phrasing. She spoke of having fun and keeping the music lively.
Dr. Barr had put everyone at ease and simultaneously drawn them out, so that when they repeated the movement, the performance was markedly improved: more confidence, more sound and more spirit. Applause was well-deserved, and they bowed together beautifully. So much conveyed, economically, with good feeling all around - a gem of a coach!
In the question period, she made it clear that she feels using the half-stick on the piano is not a good idea. To the question, "How can you get artistry in the short time that students have?" she gave no answer except to observe that our students are "Activities Majors" - they do so much! She said that had there been more time, she would have had the players sing their parts. She advised scheduling performances early. Students need to become accustomed to playing for others, a vastly different experience from playing and rehearsing without an audience.
Attributes required to be a collaborative musician: you need to love interaction, love the repertoire, have the technique, sight-read really well, learn fast, be flexible, level-headed, determined but realistic, responsible and willing to give l00%. Of several good stories from her life, I'll include my favorite:
At 4 PM Thursday, Rostropovich called, needing an accompanist (collaborator) for the Shostakovich Cello Sonata the next night in another town. She didn't know the piece, so practiced almost all night, caught a 7 AM plane, rehearsed with "Slava"at 4 PM and performed at 8. That was a Friday. Sunday he needed a collaborator for the Prokofiev Cello Sonata, leaving her Saturday to prepare another piece she didn't know.
And a gem of a collaborator!
|
