As we age, we’re reluctant to look at our reflection in the mirror, but as we grow over time as musicians, the mirror of our playing in recorded “reflections” can foster quality adjustments in phrasing and interpretation.
If we nudge ourselves to step back and be “objective” about what we’re hearing, we may try to amend our next playing so it’s not a static, unaltered repeat of the last.
When I observe my own false starts, phrase imbalances, thumb pokes, and breath-short measures, I aim to improve these shortcomings by studying physical and musical dimensions that must be intertwined and synthesized.
In a separate but related universe, Alfred Brendel, renowned pianist, puts a negative spin on the “finished” recording, while his comments upon careful scrutiny, support the self-educational value of making longitudinal student recordings. (While these exist in an “unfinished” form, being raw and home-based, they still have significant redeeming value)
In the following abridged paragraph of his newly released book, Music, Sense and Nonsense, the celebrated pianist bemoans the “impalement” by the public of renderings that permanently emblematize player. Yet amidst a string of professionally recorded efforts, Brendel appreciates an evolution of artistry that ripens over time– permeated by modified creative perceptions.
“But a recording is… simply the fixing of a moment.. so the artist should have the right to identify his work within a certain phase of his development… (And) it is only the continuous renewal of his vision – either in the form of evolution or of rediscovery – that can keep his music-making young.”
The last sentence fits perfectly into the paradigm of enlisting recordings to illuminate a particular developmental phase and to move it along to the next with sensitive adjustments and acquired awakenings. These flow through an artistically dynamic chain of youth-preserving efforts that should draw students toward recorded reflections of their playing, not away from them.
For piano teachers who evolve beside their students in a comparable growth process, home-created recordings can mirror efforts that are undergoing constant refinement without their needing “fixed” deadline arrivals, or contrived makeovers to mimic youth appeal that has no depth or substance. (i.e. fast and furious top-layer playing without thought, emotion or REFLECTION.)
As a footnote to this discussion on the value of recordings in the learning environment, I offer a Student/Mentor mirrored-back lesson sample. (In teaching this Bach Invention repetitively, I will, no doubt, alter my ideas in consonance with an ever-changing process embedded in refined artistic illumination. The same metamorphoses will apply to the student.)
J.S.Bach Invention 13 in A minor:
Original Source: Mirrors and piano playing