{"id":1754,"date":"2012-03-26T07:03:17","date_gmt":"2012-03-26T11:03:17","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/?p=1754"},"modified":"2020-07-19T15:23:19","modified_gmt":"2020-07-19T19:23:19","slug":"practicing-non-take-twoness","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2012\/03\/practicing-non-take-twoness.html","title":{"rendered":"Practicing non-take-twoness"},"content":{"rendered":"<p><a href=\"https:\/\/www.artsjournal.com\/pianomorphosis\/wp\/wp-content\/uploads\/2012\/03\/PnoLock.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-1762\" style=\"margin: 16px 0px 16px 46px\" title=\"PnoLock\" src=\"https:\/\/www.artsjournal.com\/pianomorphosis\/wp\/wp-content\/uploads\/2012\/03\/PnoLock-e1332722913934.jpg\" alt=\"\" width=\"280\" height=\"280\"><\/a>After I play through a program or a piece for someone (as a step in preparing for public performance), I don&#8217;t return to the piano to practice. It can be difficult, if something went badly and I want to work on it. But the separation &#8212; practicing for the real concert by preserving the &#8220;non-take-twoness&#8221; of the performing experience &#8212; matters most.<\/p>\n<p>I&#8217;ve read of <a href=\"http:\/\/youtu.be\/iyy-xLoUy5o\" target=\"_blank\" rel=\"noopener noreferrer\">Busoni<\/a> returning to the hall to play through an entire concert after the audience departed. For me, it seems a bad idea, a misunderstanding. What has &#8220;gone wrong&#8221; in a performance, what doesn&#8217;t satisfy the player,&nbsp;frequently doesn&#8217;t&nbsp;result from lack of practicing or lack of physical skill.&nbsp;Problems arrise from a lack of readiness for the encounter with the heightened awareness, the fluttering stomach, the frisson of the concert.<\/p>\n<p>I can get ready more reliably by drawing a frame around my playing, previewing the once-and-only-once mindset of the concert. And as I don&#8217;t play after run-throughs, I also do not play for 30 minutes before run-throughs.<\/p>\n<p>I take the sometimes bitter pill and do not touch the piano.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>After I play through a program or a piece for someone (as a step in preparing for public performance), I don&#8217;t return to the piano to practice. It can be difficult, if something went badly and I want to work on it. But the separation &#8212; practicing for the real concert by preserving the &#8220;non-take-twoness&#8221; [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1762,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[82,850,81,249,898,267,66,575],"class_list":{"0":"post-1754","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-glenn","9":"tag-glenn-gould","10":"tag-gould","11":"tag-non-take-twoness","12":"tag-piano-practicing","13":"tag-practice","14":"tag-practicing","15":"tag-stage-fright","16":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/1754","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/comments?post=1754"}],"version-history":[{"count":1,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/1754\/revisions"}],"predecessor-version":[{"id":5308,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/1754\/revisions\/5308"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/1762"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=1754"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=1754"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=1754"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}