• Home
  • About
    • PianoMorphosis
    • Bruce Brubaker
    • Contact
  • AJBlogs
  • ArtsJournal

PianoMorphosis

Bruce Brubaker on all things piano

Piano Darwinism

July 13, 2009 by Bruce Brubaker

bannisterAJ.jpgOlivier Messiaen’s Quartet for the End of Time has gotten easier to play. Fifteen years ago, I learned the piece and performed it, finding the music quite difficult. There were rhythmic complexities, and ensemble challenges. Especially in the first movement (“Liturgie de cristal”), andin the sixth movement (“Danse de la fureur, pour les sept trompettes”), it was difficult just to stay together with the other players.

Around the world last season, there were many performances of Messiaen’s music, marking the one-hundredth anniversary of the composer’s birth in 1908. I performed the quartet five times in a variety of venues (large concert hall to night club) with a changing cast of violinists, cellists, and clarinetists. (The piece is written for clarinet, violin, cello, and piano.)

Messiaen6AJ.JPG

My first re-encounter with playing Messiaen’s quartet involved two performances at a Midwestern summer festival, with an ensemble of relatively young players. Everything went together rather easily, causing me to wonder: Have the difficult rhythms of Messiaen’s music become “easier”? Are players today just better able to cope with irregular beat patterns?

As for me, although it’s true I had not played this music for many years, I had coached several student performances of the piece. At Juilliard and at Leipzig’s Hochschule für Musik, I worked on these complexities with young musicians, developing some strategies — and greater familiarity with the music. In the coachings, I noticed that the hurdles in Messiaen’s music seemed less overwhelming to younger players.

In sports, we witness each generation of athletes becoming more technically accomplished. Such a significant achievement as Roger Bannister’s “four-minute mile” eventually became something a whole group of elite runners could attain.

The pianist and composer Ferruccio Busoni used the expression “pianistic Darwinism.” He was describing how a dauntingly challenging piece of music, even a piece considered to be “unplayable,” eventually becomes accessible to many players. Busoni’s example was Beethoven’s “Hammerklavier” sonata, but we might think of Maurice Ravel’s Gaspard de la nuit, or even The Rite of Spring.

This “Darwinism” is manifested in many of the auditions I hear each spring at New England Conservatory. (Busoni taught at New England Conservatory in the 1890s.) One exceptional pianist brilliantly played Liszt’s etude “Feux follets” for our audition committee. After the applicant left the room, my colleague Patricia Zander leaned over and whispered in my ear: “You know, that piece used to be difficult.”

Filed Under: Uncategorized Tagged With: Busoni, chamber music, Danse de la fureur, ensemble playing, Ferruccio, four-minute mile, Hammerklavier, Juilliard, Leipzig, Messiaen, pianistic Darwinism, pour les sept trompettes, Quartet for the End of Time, rhythm, Roger Bannister

Comments

  1. z says

    July 13, 2009 at 9:09 am

    is this relevant?

  2. Barbara says

    July 21, 2009 at 12:12 am

    I recently came across your blog and have been reading along. I thought I would leave my first comment. I don’t know what to say except that I have enjoyed reading. Nice blog. I will keep visiting this blog very often.
    Barbara
    http://keyboardpiano.net

  3. piano guide says

    February 2, 2010 at 7:32 am

    .., this has gotten my interest… i am really hoping if i could read more post… i love anything about the piano…

  4. studying piano says

    March 10, 2010 at 12:33 am

    Thanks for the added knowledge through this site.. hope I can read more topic about piano.. i want to know more..

Bruce Brubaker

Recordings like the new American piano music albums I make for ECM, InFiné, Bedroom Community, and Arabesque reach millions of listeners, and break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Billie Eilish, The Weeknd — even the occasional Mozart track! Spotify, Apple Music, YouTube are allowing music lovers to discover music they could not have found so easily before. Live performances begin to reflect what’s happening online. My performances occur in classical venues like the Philharmonie in Paris, the Barbican in London, at La Roque d’Anthéron, at festivals such as Barcelona’s Sónar and Nuits Sonores in Brussels, and such nightclubs as New York’s (le) Poisson Rouge. Read More…

View My Blog Posts

PianoMorphosis

Music is changing. Society's changing. Pianists, and piano music, and piano playing are changing too. That's PianoMorphosis. But we're not only reacting... From the piano -- at the piano, around the piano -- we are agents of change. We affect … [Read More...]

Archives

More Me

BB on the web

“Glassforms” with Max Cooper at Sónar

“Glass Etude” on YouTube

demi-cadratin review of Brubaker solo concert at La Roque d’Anthéron

“Classical music dead? Nico Muhly proves it isn’t” — The Telegraph‘s Lucy Jones on my Drones & Piano EP

Bachtrack review of Brubaker all-Glass concert

“Brubaker recital proves eclectic, hypnotic, and timeless” — Harlow Robinson’s Boston Globe review of my Jordan Hall recital

“Simulcast” with Francesco Tristano on Arte

Bruce Brubaker hosts 4 weeks of “Hammered!” on WQXR — “Something Borrowed,” “Drone,” “Portal,” “The Raw and the Cooked”

“Onstage, a grand piano and an iPod” — David Weininger’s story with video by Dina Rudick

“Bruce Brubaker on Breaking Down Boundaries” — extensive audio interview at PittsburghNewMusicNet.com

“Heavy on the Ivories” — Andrea Shea’s story for WBUR about Bruce Brubaker’s performances and recording of “The Time Curve Preludes” by William Duckworth

“Feeding Those Young and Curious Listeners” — Anthony Tommasini in The New York Times on the first anniversary of the Poisson Rouge

“The Jewel in the Fish” — Harry Rolnick on Bruce Brubaker at the Poisson Rouge

“The Post-Postmodern Pianist” — Damian Da Costa profiles Bruce Brubaker in The New York Observer

Bruce Brubaker questioned at NewYorkPianist.net

“Finding the keys to the heart of Jordan Hall” — Joan Anderman in the Boston Globe on the search for a new concert grand piano

“Hearing and Seeing” — Philip Glass speaks with Bruce Brubaker and Jon Magnussen, Princeton, Institute for Advanced Study

Bruce Brubaker about Messiaen’s bird music, NPR, “Here and Now”

“I Hear America: Gunther Schuller at 80” — notes and programs for concert series, New England Conservatory, Harvard University, Boston Symphony Orchestra

“A Conversation That Never Occurred About the Irene Diamond Concert,” Juilliard Journal

Bruce Brubaker plays music by Alvin Curran at (le) Poisson Rouge

Bruce Brubaker

Recordings such the new American piano music albums I make for ECM, InFiné, and Arabesque reach many listeners, and seem to break through some old divisions of high culture/pop, or art/entertainment. My fans are listening to Cardi B, Childish Gambino, Ariana Grande — even the occasional Mozart track! Spotify, Apple Music, and YouTube are allowing music lovers to discover music they could not have encountered so easily in the past. Live performances begin to reflect what’s happening online: this year I play at the International Piano Festival at La Roque d’Anthéron, traditional concert venues in Los Angeles, and Boston — as well as nightclubs in Berlin, Hamburg, Paris, Lyon, Geneva, and New York’s (le) Poisson Rouge.

Return to top of page

an ArtsJournal blog

This blog published under a Creative Commons license

Copyright © 2025 · Magazine Pro Theme on Genesis Framework · WordPress · Log in