Here’s a link to part 3.

Quick recap: When it comes to written music and improvised music, I try to make the best with both worlds.

The question I ask in “Which is More Impressive?” is a bit loaded. Both options are honourable undertakings that require serious discipline and have their own set of challenges. But besides building vocabulary, there’s another reason why performing written music is important to me.

Through studying written music, I’ve gained an appreciation and often strive for a perfect realization in a score. A perfect score means that every music-making material is in perfect synchronicity with one’s tastes. Personally, if I consider a score perfect, I wouldn’t dare waiver from the written music; it doesn’t require any amount of improvisation or embellishment; it’s perfect just the way it is! It just requires execution.

Side Note: Striving for a perfect realization has implications for composing too, but these posts will only deal with performing.

My experience as a solo pianist has shown that performing written music or heavily prepared music poses some problems. I’m always wrestling with physical issues, aesthetical issues with audiences and subsequently, issues getting gigs. I’d like to reflect on these in the next few posts.

Beginning with a physical issue:

Performance repertoire that’s written or heavily prepared requires maintenance. And harder music means more maintenance. Memory fades! Maintenance is unavoidable, but there are things you can do to minimize it. Here are my answers to Peter’s questions:

“I wish I could have my entire performance repertoire in my immediate repertoire, but memory fades and maintenance can be very time-consuming…It’s a balancing act. If I put more tunes in my immediate rep, then I won’t have as much time to learn new rep. If I spend more time on new rep, then I’ll have less time to spend on maintaining my immediate rep. I think I’ve found a balance that works for me.

Generally, I derive balance from my concert programming, which is always changing and evolving. I don’t maintain repertoire that I don’t intend to perform! I’d be very interested to know how maintenance differs from pianist to pianist. How long does it take them to bring repertoire back to a performance level after not playing it for a certain amount of time? What factors are involved? How did they find their balance?

Stay tuned for Part 5!