When people discover I’m a piano teacher, they often confide in me about their childhood piano lessons, their memories of their piano teachers and how the experience obscured the pleasure and joy of music making. Some shudder at these memories, and such anecdotes often reveal how much baggage from our childhood we carry into our adult lives, and how these experiences inform and influence the way we approach our music making as adults. I’ve come across adult pianists who seem stifled by fear that their childhood teacher could rear up beside them at any moment, and heap criticism and disapproval upon them. I have encountered adult pianists in masterclasses who, when asked why they approach a certain passage in a certain way, reply “My teacher told me to do that”. Their body language and their piano sound hints at great inner tension, resulting from fear of criticism, fear of making mistakes; and the recollection of those difficult, joyless childhood piano lessons.
Some of the young people I teach, and have taught in the past, seem to be accumulating similar tensions (though not, I hope, from their lessons with me). One student told me of her previous teacher who regularly made her cry, another whose lessons were dull and boring (and even dull and boring lessons can have a profound effect upon our attitude to music and music making). Some of my students still find it hard to appreciate that music and music making is meant to be pleasurable, stimulating, exciting, entertaining and satisfying.
I blame this partly on the U.K. state education system with its obsession with tests and “results”. Kids are tested so much these days it’s as if the creative spirit has been sucked out of them. They aren’t encouraged to think or behave creatively at school and so being asked to be creative at the piano is almost anathema to them. They have also been peddled the idea that classical music is universally “serious”: it took nearly a year of coaxing for one student of mine to appreciate, and highlight, the wit and humour in a Rondo by Diabelli. The day that student made me laugh out loud in his rendering of this piece was a significant step forward for him (and me).
Parents too can be unintentionally complicit in this stifling of creativity, insisting that only the repertoire set by teacher should be practised, and using exams (yes, more testing!) as the only benchmark of progress and success. As for what “needs” to be practised, if a student comes to a lesson having learnt something without any input from me, which is not assigned “homework”, I’m not going to tick them off. Instead, I’ll praise them for their initiative and independent learning.
When I was learning the piano as a child and teenager, I was actively encouraged to seek out new repertoire, whether it was assigned by my teacher or not. I would take my discoveries to my teacher and she would help me find a way through the more challenging sections – and she never once said “You shouldn’t be learning that”. Yet as an adult pianist, I have encountered an attitude amongst some teachers and professional pianists that certain repertoire is “off limits” to amateur pianists. Such attitudes can only discourage adult pianists in their quest, and I take issue with anyone who says some repertoire is the exclusive preserve of the professional.
Some professional musicians lose sight of what the music and music making is about too. The pianist who described his working day to me as “strictly 9 to 5”, reducing his wonderful craft to nothing more than a “day at the office”; or the international concert pianist who complained in an interview with me that the rigours of keeping the repertoire going combined with the demands of the career – concerts, travelling, recording, making a living – could obscure one’s love for the music to the point where one begins to resent it. Another professional pianist told me she “envies” amateurs because they can play for pleasure whenever they like.
Music is about emotions and emotional release, escapism and storytelling, excitement, pleasure, contemplation, humour, philosophy…….and so much more than that. It’s personal and highly subjective, and it can provoke profound emotional responses in both performers and listeners. It’s not about dry exercises and “getting it right”; or about playing a certain piece in a certain way to “please teacher”.
If music comes from your heart and soul, and if you feel it inside yourself, it will affect others in the same way
Yes: if your music comes from deep inside you, it will speak to a place deep in others
We should take Schumann’s advice (revisited by Steven Isserlis) and make that our lesson in music making.
Antonio Diabelli, Op. 168, No. 1, Rondo allegretto