As I have continued to wrestle with the whole issue of music practice, perhaps the most common question which has come around again and again is this: what motivates children to practise? There are a few possible answers, but one is of course to have a target to aim for.
For some, an exam is the obvious target, and although these are important, I often feel that they can in some way be a bit of a let down. As I write, I have just finished a second day of music exams in which I have accompanied no fewer than twenty students (including nine Grade 8s). Although they have been really enjoyable, I can’t help feeling that all this preparation just to sing or play to one person, who sits looking necessarily critical and scribbles for most of the time, is a bit of an anti-climax, even when the exam goes really well.
By contrast, I was hugely inspired by a book which I read during half term, Play it again by Alan Rusbridger. Although this is principally an account of how Rusbridger went about learning to play Chopin’s Ballade No.1 in the same year The Guardian took down The News of the World, Rusbridger returns again and again to the theme of amateur vs professional music making. In short, if we play the piano, it can be hugely enjoyable to hear other people play, and in many respects it doesn’t matter whether they are better or worse than us; we share the common experience of knowing what it feels like to play, of what is difficult, of what it is like to be crippled by nerves when we perform for others, of how much work goes into preparing a performance. Or even just hearing a piece which we really like and thinking ‘I wonder if I could play that?’
Our Piano Festival began on Saturday afternoon with a visit by Peter Donohoe, who quite by chance happened to be playing at the Holburne Museum in Bath on that same evening – the penultimate recital in a series in which he is playing the complete Beethoven Piano Sonatas (the final one is on 5 April, see you there!) This was no formal recital, and indeed over the course of an hour and a half Peter gave us some extraordinary insights into subjects as diverse as Soviet Russia in the 1980s, perfectionism, memorising music, the perils of Wikipedia, and the inability of a modern-era London cabbie to get from the Southbank to Paddington Station without a satnav! He hadn’t even decided what he was going to play to us before he sat down at the piano, and after playing Beethoven’s op.101 he asked for requests; Chopin’s Ballade no.4 followed, and then the first three pieces in Brahms op.118, and then to finish, Scriabin’s Sonata no.5 (Peter’s own ‘request.’) And in much the same way as when Andrei Gavrilov visited last term, it was just an amazing privilege for us to enjoy hearing a world class pianist in such intimate surroundings. Peter’s relaxed what would you like to hear? approach was just about as far removed from a professional recital as you could imagine, but so much more engaging and personal. Just wonderful!
And so to Sunday’s Piano Festival, a full 4 hours of piano playing. Classes were designed to ensure that everyone had a chance to play – hence the Band Class for those who prefer to pick out chords (complete with drums, bass and vocals), a Duet Class for those who were reluctant to play by themselves, the Over 24s Class (!), and even the b.1809-10 Class – music by Mendelssohn and Chopin! Most of the classes included members of staff playing alongside pupils – some exceptionally proficient, others less confident. My hope was for our young pianists to realise that playing the piano is something which lots of other people do too – their History teacher plays Khachaturian no less, and our new Deputy Head is partial to a bit of Mendelssohn! Unlike competitive music festivals, most of our afternoon was simply about playing to each other, and I was absolutely delighted by the number of pianists who put themselves forward – nearly forty in total. All had clearly prepared for their performances, and their combined effort in aiming for their individual targets has been to participate in an afternoon which has given so much encouragement to everyone present. Yes, playing in public can be scary, but managed carefully it can inspire us to persevere too.
Huge thanks must go to our adjudicator for the afternoon, Melanie Spanswick, who had some excellent advice for everyone who played, and who judged the only competitive part of the day, the final Piano Prize Class. Our six ‘finalists’ were Livvy Belchambers, Fiona Boddington, Cora von Siemens, Paul Karamura, Dan Watt and Freya Elsy, with Fiona’s performance of March from Tchaikovsky’s Seasons chosen as the winning performance. The prize for the best newcomer went to Gabriella Watt from our own Monkton Prep School who played the slow movement from Beethoven’s Pathetique Sonata.