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

PianoMorphosis

Bruce Brubaker on all things piano

Scoreless

September 21, 2010 by Bruce Brubaker

chopin45AJ.jpgJust before playing a program that began with Chopin’s Opus 45 Prelude, I started to think through the beginning of the music. Backstage in the green room, I had no piano and no copy of the written score — and I couldn’t recall the spacing, the exact arrangement of the notes, of the first chords in the piece.

Solo pianists who play a lot of music by memory tend to be concerned about forgetting. For many pianists, it’s the main focus of anxiety right before performances. In the midst of playing a lot of memorized pieces, I find that if I perform something with written music, my preconcert anxiety shifts to worry about misplacing the physical paper I’ll need for the concert — forgetting in a different form.

Once after I played John Cage’s Dream (from memory), some audience members were talking to Cage. Someone asked, “What would happen if the pianist got lost?” Almost instantly, and seemingly without thinking it over, Cage blurted out: “That would be wonderful.”

It is why we play from memory: to forget ourselves. Or, to forget that we are reading a script. To give at least the appearance that these events are really happening, that preplanned music is real and alive and subject to unexpected twists, or even to reaching some new and unexpected destination.

Are we deceiving the audience? It was a concern in the 19th Century, as pianists began publicly playing “by heart.” Franz Liszt apparently played music by others from memory, but played his own compositions looking at written notes. (He wanted the listeners to see he was not improvising!)

When we play without notes in front of us, there is some suspension of disbelief. We don’t seem to want our actors carrying around scripts, or to see our politicians reading from teleprompters.

As I moved my hands to the keyboard to begin the Opus 45 Prelude, I hoped that some less conscious part of my memory would take over and produce the right chords — and it did. Now, I travel with copies of the music I’m playing. Even if I never look at them. And I never look just before performing. Or even for days.

Old pieces may get modified by the memory-performer. Simplified, or re-detailed. New fingerings and new enunciations, new voicings or phrase groupings may arise. Sometimes to forget a little is to open the possibility of discovery. Phrases that look square or symmetrical in writing may be more subtly heard and understood in the mind. In the playing of memorized pieces, I sometimes feel that a less-than-excellent sense of pitch or an imperfect command of modern rhythmic sub-division may be advantages — in allowing an uncertainty that yields more expressive contours and a more honest, lived-in, and directional journey in performance.

Perhaps the subject here is not memory but notation? Music in all its dimensions resists capture by something so simple as writing. And in the filtering through our memory of a script, even a well-known, carefully learned script, our foibles may lead us to truth.

Filed Under: Uncategorized Tagged With: Chopin, John Cage, Liszt, memory, musical memory, notation

Comments

  1. francois schimanger says

    September 21, 2010 at 3:55 pm

    “That would be wonderful.” john cage is the man, definitely!
    don’t you think it is sometimes more difficult to play with a score just because you are looking at the paper as opposed to the keyboard?
    saluti.
    Bruce Brubaker responds:
    In playing from written music, I do feel a different tactile relationship to the keys. In some chamber pieces that I know fairly well, I make a very conscious effort to keep looking at the score. I want to compare/reconcile what I’m hearing to what I see represented in notation.

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