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Bruce Brubaker on all things piano

First Note

February 22, 2010 by Bruce Brubaker

To conjure the first sound from the piano, at the beginning of a piece, at the beginning of a concert… In a live performance, this first sound can be made only once. In my mind, I do it over and over again.

More than other instruments, the piano is an instrument of imagination. Most of us don’t travel with our own pianos. Although we may have an ideal piano sound in our mind, we never hear it.

haydn.jpgSo we’re always adjusting, adapting — sometimes frustrated. We are always compromising. We’re in an ensemble with the piano, with the particular instrument we find ourselves touching. Our solos are chamber music. And sometimes, if we’re lucky, the result of this challenge — the challenge of really paying attention, of really listening to our musical partner of the night — is that we discover music anew. We hear and breathe and feel this exact, unrepeatable way for the first time, for the only time.

Though I’m often disappointed by pianos, it’s also true that a particular instrument (or room), through its physical sound or ease of delivery, can suddenly allow unanticipated insights, or solutions to musical questions lingering for years. And sometimes, a piano emits the sounds we imagine (even if more doubtful pianists might wonder how that’s possible).

It’s wise to aspire tonally and syntactically. I don’t want to settle for what the piano can do easily. Pianos are not sustaining, legato line-makers. In linear music, it’s a huge job just to connect the “dots.” So, I like pianos that seem to offer at least the possibility for one note to be bound to another. It’s an illusion. With the piano, the individual tones remain discrete. The characteristic decay of every piano note, the rapid fading of volume, can be managed, but never really altered.

In my obsession about the first sound of a particular piece, I give myself very specific goals and details to monitor. Put the pedal down before the first note. Touch all the keys with fingertips. Make the shape go forward in time, to the fourth beat. It might be better to be more spontaneous. But at the beginning of a performance we need help. A simple hope to play “beautifully” or expressively or accurately — it’s not enough. Very clear tasks to do, specific musical, textural, and pianistic details to realize — can draw the player in, past apprehension, past fear, past disappointment in the real sound heard in the real room.

A disproportionate amount of time is spent working on the beginnings of things. Theatrical directors and orchestra conductors may use a large part of their rehearsal time working on what will be the first minutes of the performance. What comes later will take care of itself, at least partly, if the beginning is strong — if it really works.

We do have a better chance of playing well all night, if the performance starts well. If we begin poorly, it may be impossible to recover. And, even if we manage to improve as a performance goes on, the audience (or the critics!) may have formed strong opinions based on what they heard “at the top.”

Glenn Gould described what he called the “non-take-twoness” of the concert. Occasionally, Arthur Rubinstein played one or two pieces on a piano backstage for a small group of listeners, before walking out onto the big stage. Jacob Lateiner, acknowledging the enduring difficulty of whatever piece was first in a concert, proposed an elegant solution. “Start with the second piece,” he suggested.

In contrast, Claudio Arrau believed a professional pianist should adapt instantly to concert conditions. He didn’t test pianos or play through recital programs in theaters. With great respect, I have to report that Arrau didn’t do well in a performance of Beethoven’s Opus 109 Sonata that began a New York recital. I suppose he hadn’t touched or listened to the instrument until he played the first note.

Filed Under: Uncategorized Tagged With: Arrau, first note, glenn, gould, Jacob Lateiner, musical performance, non-take-twoness, piano sound, practicing

Comments

  1. Rhea says

    March 31, 2010 at 4:04 pm

    I like the suggestion of starting with “the second piece.” Better yet, I like how Rubenstein first performed backstage — if possible, I would like to try that. For the first time after many years away from the keyboard, I will perform in a joint recital in June. The 1st piece is a Bach fantasie — a rather fast one, with trills in the opening measures. Rather difficult for me as an opening piece, but my teacher insists on performing the pieces chronologically.

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…

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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...]

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“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

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“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.

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