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Doublereed Archive - Posting 000035.txt from 2003/01

From: Lee Lowry <leel@-----.net>
Subj: [DR-L] Re: Recovering from a bad recital
Date: Sun, 5 Jan 2003 23:11:41 -0500

Hello Lisa,
I agree with the others. I do not think playing from memory should be
forced on anyone, younger players particularly. When I was 14, I had to
play in a recital in which I had to memorize the piece. I thought I was
fairly good at memorization and the piece was certainly not difficult.
I played it from memory at home, skipping the rests. But when I got up
in front of the audience, everything changed. I got started OK but at
one point, all of a sudden the next two measures (slow piece) were
totally blank in my mind's eye. In a panic I just stood there. The
accompanist, very skilled, and a kindly mother, understood instantly and
quickly played the phrase I was missing and got me back on track and I
completed the piece (ordeal?) sucessfully, though I was nearly ill when
I finished. I don't know what happened--the piece was simple and I felt
well-prepared. But it was my first time in front of an audience trying
to play from memory and the stress was just too much I guess.

I have never forgotten the shame and inadequacy I felt that winter
afternoon so long ago. I have very seldom ever played a piece from
memory again, nor would I want to. When I am trying to play, I have my
hands full with intonation, phrasing, dynamics, all those things we
ought to be concerned with that make the music come alive. I know the
music I am playing, but at least I do not have to worry about an
untimely memory lapse. And I no longer have pre-playing jitters. I
realize that there are those for whom memorization is not a big deal.
But I think it is asking too much of youthful players who can indeed be
damaged by such an experience. No one criticized me, because I think
those who knew what had happened understood how pathetic and inadequate
I felt. But yes, it did leave a mark. The fact I remember it 40+ years
later tells me that.

Since your son was playing a piano, no accompanist could 'shoot him the
phrase' as mine did. But I think what the other teacher did, helping the
students out when they got confused, was much more sensitive and
understanding than forcing an already humiliated child off the stage.

Best solution (IMO): forget about memorizing until they are much older
and more musically accomplished. The young child has all he can do to
play the piece accurately with the music, and is already far more
self-conscious than most adults would be in this situation. Why add one
more serious item of risk to an already risky situation? Why wound a
child's self-esteem for life? It isn't worth it.
Lee Lowry