Islamey went well! More specifically, I performed Balakirev's Islamey yesterday (a piece which has haunted me in the past) at the Dallas Public Library Concert Series, and thankfully, it soared this time. (Check out my last couple of posts for a better explanation of my history with this piece).
I sat for what seemed like a long time before I started playing it, because I was really working up the courage to get through it! I love this piece and don't want fear to get in the way of sharing great music. This time, I made sure I was always in control of my tempos (they can easily run out-of-control in this piece) and at the same time, pushing an edge of excitement that is so important to the music.
Considering it's one of the hardest pieces in the repertoire, I have no qualms admitting that it still has room to grow (and perhaps room for even more speed!), but I am thrilled with how it went yesterday.
Check it out in the video bar below (on the right hand side), or you can find it on Youtube. If you can't watch the whole thing, at least listen to the last couple of minutes!
Monday, October 3, 2011
Sunday, September 18, 2011
Redemption
In my last post, I mentioned something about a piece called "Islamey." Known as one of the most daunting piano pieces ever written, Islamey is admired and feared among many (including myself, I must admit). It's claim to infamy is that it is so difficult that the composer himself could not even play it.
I attempted this piece in 2005 at a competition in Calafornia. A young, invincible performer, I wondered how bad it could possibly be, and only practiced it for a couple of brief months before taking it on stage - at an international competition. I have rarely had a performance that I would describe as bad, but this could definitely have been described as such. Islamey presented challenges I had never encountered, and the pressure of the performance magnified every little slip by about a thousand. My arms tightened up (very rare for me), and I probably stopped breathing momentarily as I tried to get through this beast known as Islamey. It might not have been so bad had I not played it right after a Liszt Transcendental Etude, or so I tell myself...
But as with many things in life, now is the time for redemption. I have taken a six year break from this piece, and I have now worked up the guts to play it again, this time with more experience under my belt, more practice on the piece, and the same fearless determination I had before.
In 2 short weeks, I will be performing Islamey in recital in Dallas. I will be sure to write about how it goes!
I attempted this piece in 2005 at a competition in Calafornia. A young, invincible performer, I wondered how bad it could possibly be, and only practiced it for a couple of brief months before taking it on stage - at an international competition. I have rarely had a performance that I would describe as bad, but this could definitely have been described as such. Islamey presented challenges I had never encountered, and the pressure of the performance magnified every little slip by about a thousand. My arms tightened up (very rare for me), and I probably stopped breathing momentarily as I tried to get through this beast known as Islamey. It might not have been so bad had I not played it right after a Liszt Transcendental Etude, or so I tell myself...
But as with many things in life, now is the time for redemption. I have taken a six year break from this piece, and I have now worked up the guts to play it again, this time with more experience under my belt, more practice on the piece, and the same fearless determination I had before.
In 2 short weeks, I will be performing Islamey in recital in Dallas. I will be sure to write about how it goes!
Wednesday, July 13, 2011
Elbow Update
My elbows have been feeling much better! In fact, I've even gotten back into practicing the "Islamey" (one of the most challenging pieces in the piano repertoire, and known for the fact that it was too difficult for even the composer to play).
Speaking of difficult, I'm preparing for a concert in October with some pretty fierce pieces. I'm planning on including Schubert's Wanderer Fantasy, Balakirev's Islamey, the Mozart C minor Fantasy, and the Faure 6th Impromptu, along with some other pieces. I love challenging myself, although it can be scary to play such difficult pieces live! One of the best compliments I sometimes hear is when people describe my playing as fearless. As a performer, I have to take chances. I have to let the audience know I'm giving my absolute all. As one of my former teachers used to say right before I walked on stage," Take no prisoners!"
The past few months have been trying, but it looks like it's working out. I've made some adjustments, such as trying to practice in no more than 30 minute increments, sitting a little higher on the bench, sleeping in arm braces, rarely holding a cell phone to my ear, etc. But thankfully, my elbows are back in performance shape and I'm feeling good. More updates to come!
Speaking of difficult, I'm preparing for a concert in October with some pretty fierce pieces. I'm planning on including Schubert's Wanderer Fantasy, Balakirev's Islamey, the Mozart C minor Fantasy, and the Faure 6th Impromptu, along with some other pieces. I love challenging myself, although it can be scary to play such difficult pieces live! One of the best compliments I sometimes hear is when people describe my playing as fearless. As a performer, I have to take chances. I have to let the audience know I'm giving my absolute all. As one of my former teachers used to say right before I walked on stage," Take no prisoners!"
The past few months have been trying, but it looks like it's working out. I've made some adjustments, such as trying to practice in no more than 30 minute increments, sitting a little higher on the bench, sleeping in arm braces, rarely holding a cell phone to my ear, etc. But thankfully, my elbows are back in performance shape and I'm feeling good. More updates to come!
Wednesday, April 13, 2011
Second Chances
I have been a little off-radar the past few months, because I've had some elbow problems. Long story short, I started having some weakness in my 4th and 5th fingers and a bit of elbow pain. These symptoms may not be a big deal to most people, but bad for a pianist.
After seeing the doctor and having a nerve conduction study done, the doctors realized I had slightly pinched nerves in both elbows. Further, they did an ultrasound test of both elbows, which showed that my tricep muscle is pushing on the ulnar nerve every time I bend my elbows, caused by years and years of having my arms bent and muscles working at the piano.
Last week was terrifying. I was told that most likely, a surgeon would have to go in and cut out this part of my tricep that is pushing on the nerve! To me, double elbow surgery for a concert pianist equaled death of career, at least for a long while. Plus, there are no guarantees with surgery. What if something went wrong?
Then, I received my great relief. The orthopedic hand/elbow specialist informed me that the surgery for this is "big and bad", with a very long recovery, and that he didn't want to do it. Whew. The alternative is to wear a brace day and night for three months and try to keep my arms straight when at all possible. Great! But how does one play the piano with straight arms?!
The doctor asked if I knew of Barry Manilow. He said that he had the same problem, so he was known for sitting on a very high stool. The doc suggested that I alter my bench height, either farther back or higher up, so that my arms are not bent quite as much.
Some people might be discouraged by three+ months in a brace and having to change their bench position. But I have been given a second chance, and I am taking it! I'm back to practice, in full swing, and working on more promotion material each day. It took a time of realizing that musical ability is a gift and that I can't take it for granted, in order for me to...well, not take it for granted. In that light, I am very thankful for the elbow problems.
After seeing the doctor and having a nerve conduction study done, the doctors realized I had slightly pinched nerves in both elbows. Further, they did an ultrasound test of both elbows, which showed that my tricep muscle is pushing on the ulnar nerve every time I bend my elbows, caused by years and years of having my arms bent and muscles working at the piano.
Last week was terrifying. I was told that most likely, a surgeon would have to go in and cut out this part of my tricep that is pushing on the nerve! To me, double elbow surgery for a concert pianist equaled death of career, at least for a long while. Plus, there are no guarantees with surgery. What if something went wrong?
Then, I received my great relief. The orthopedic hand/elbow specialist informed me that the surgery for this is "big and bad", with a very long recovery, and that he didn't want to do it. Whew. The alternative is to wear a brace day and night for three months and try to keep my arms straight when at all possible. Great! But how does one play the piano with straight arms?!
The doctor asked if I knew of Barry Manilow. He said that he had the same problem, so he was known for sitting on a very high stool. The doc suggested that I alter my bench height, either farther back or higher up, so that my arms are not bent quite as much.
Some people might be discouraged by three+ months in a brace and having to change their bench position. But I have been given a second chance, and I am taking it! I'm back to practice, in full swing, and working on more promotion material each day. It took a time of realizing that musical ability is a gift and that I can't take it for granted, in order for me to...well, not take it for granted. In that light, I am very thankful for the elbow problems.
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