So what's it really like to perform at the Wigmore Hall?

Viv and muggins, delivering

What's it like to perform at the Wigmore Hall? I doubt I'd ever have found out if I'd kept on with my piano studies...but in one of those weird twists of fate I found myself up there yesterday, with wonderful Viv, presenting Alicia's Gift: the Concert of the Novel to an extremely well-sold auditorium, full of people aged from what looked like 3 to 93, who listened attentively, applauded Viv's playing with great enthusiasm, and laughed at the jokes.

It's the musical equivalent of...having tea at the Ritz. You're in there with the ghosts of the finest music-making in the history of London. In the Green Room you're surrounded by the dedicated photographs of musicians who have been there over the past 115 years, from Edwin Fischer, Daniel Barenboim, Jessye Norman, Christa Ludwig, to Stephen Hough, Angela Hewitt and - the final photo you see just before you walk on to the platform - András Schiff standing beside a bust of Beethoven.

Viv McLean in rehearsal yesterday

The platform itself, under the famous cupola depicting the Soul of Music, feels protected, intimate and reassuring, bathed in golden light. It's neither slippery nor intimidating, and from the front of the stage the hall looks smaller than it really is, rather than bigger, so you feel safe and happy. The Steinway we met there yesterday was new just over a year ago and if you're me - playing it for three minutes at the very end of the concert - it's like taking a ride in the most luxurious car you could imagine, only far better; one of those pianos where you only have to think of what you want it to do and out it comes. If you're Viv, of course, it's even better.

Nor can you imagine a more helpful team of people. There's even someone whose job it is to look after the performers backstage - not that Viv and I need a great deal of looking after, as we always bring our own gf chocolate muffins etc, but it's nice to be offered tea, and there's a quiet room upstairs where Viv was able to go for a pre-concert snooze.

It's scary. You bet it's scary. I don't usually suffer nerves for our narrated concerts - only a little bit for the duet at the end - but when you're sitting on a stage and you can almost see Jelly d'Arányi three feet away playing Tzigane, and you can picture your parents up there in the balcony where they always used to sit, waving and being proud, and you're remembering all the hundreds of times you've been in there listening to the great and good, but now you have to deliver, that's another matter. Even so - what an unimaginable treat it was to do so.

We had a lively panel discussion in the Bechstein Room downstairs after the performance: cellist Guy Johnston, pianist and Chet's head of keyboard Murray McLachlan and RNCM artistic director Michelle Castelletti joined me to talk about what makes a prodigy, what special challenges face them and what the peaks and pitfalls of prodigydom can bring. Excellent questions from a capacity audience, especially three young musicians in their teens whose eager participation made the whole event extra rewarding.

Things we learned that are to the advantage of this concert project as a whole:
• Age range of audience is basically unlimited and this is quite valuable;
• Format with discussion to follow works brilliantly;
• It may be a newish and unfamiliar way to listen to music, but people do seem to like it, so if you are a promoter who hesitates to give something different a whirl, don't be scared. Apart from anything else, it's stuffed with absolutely wonderful music.

Dearest Wigmore, THANK YOU.

WE'RE PLAYING AT THE WIGMORE HALL TODAY

Viv McLean and I are off to the Wigmore Hall today to present ALICIA'S GIFT at 2pm. At 3.30pm I'm chairing a discussion in the Bechstein Room about child prodigies.
All details here: http://wigmore-hall.org.uk/artistic-series/alicias-gift
Please join us if you can!

Practising the Piano Online Academy: Graham Fitch tells all

 At Dartington in 1982 I shared an extraordinary experience with a group of very talented young pianists. We spent a week immersed in the masterclasses of a lively young Hungarian pianist, a rising star in his late twenties, whose performance of the Goldberg Variations in the Great Hall mesmerised everybody on day one. His name was, of course, András Schiff. For some of us it was a life-changing experience - including me, and also including Graham Fitch, who as luck would have it now lives up the road and is busy with some extremely engaging piano teaching projects. 

Notably, he has been running an excellent piano practise blog entitled Practising the Piano (I love sites that do what they say on the tin). Now he is turning the idea into an online academy for pianists of all levels - student, professional or amateur - and he's launched an Indigogo campaign to help make it happen. If you play, or want to, do take a peek and pledge your support via the links below. He's sent me a bunch of info about it, so here it all is. JD

Crowdfunding Campaign for the Practising the Piano Online Academy Launched

Introduction

Pianist and teacher, Graham Fitch has launched an Indiegogo campaign for a new initiative, the Practising the Piano Online Academy. Building on his Practising the Piano blog and eBook series, the Online Academy will take his work to the next level with a comprehensive library of lessons, masterclasses and resources combined with insights from other leading experts. The materials will be presented in an intuitive, interactive manner and aims to transform the way you approach teaching and playing the piano. The funding goal is £10,000 and funds raised will be used directly for creating additional content and resources.  

The story so far

The art of practising is a special area of interest to me and is rarely taught specifically enough. Our practice time at the piano is just as significant to the end product as the hours of training undertaken by professional athletes, but this time can so easily be wasted unless we have the know-how. Effective practice is essential to mastering the piano and it’s for this reason that I have spent decades researching and experimenting in the art of practising to find the optimal approaches.

I’ve developed a methodology comprising practice tools, strategies and techniques which I’ve tested and refined in my work with students of varying ages and levels of ability. I would love to see as many people as possible benefit from my work but obviously not everyone can get to me for one-to-one lessons. Therefore I’ve embarked upon a number of initiatives to make my work more widely accessible including my blog and eBook series. These provide a conceptual introduction to my approach and I am now planning to build on this foundation with the Practising the Piano Online Academy.

What is it?

 The Practising the Piano Online Academy is an extensive, searchable, and regularly updated library of lessons, articles and resources which will:

• Illustrate my methodologies and approach in more depth with multimedia content, interactive features and resources including musical examples, worksheets and annotated scores which can be downloaded and printed.
• Expand on practice tools and strategies with masterclasses and tutorials applying them to popular pieces in the repertoire, exam syllabuses and specific technical challenges.
• Share the expertise of guest experts on subjects including applied theory, improvisation and healthy piano playing.
• Be regularly updated, easily searchable and allow for personalisation with bookmarking and notes.
• Be shaped by your input, responding to your questions and suggestions for new content to meet your needs.

What it will do for you?

Whether you are a budding student, keen amateur, passionate piano teacher or a professional musician, it is my hope that the Practising the Piano Online Academy will provide you with the knowledge and resources at your finger tips to overcome technical difficulties, master trouble spots, inspire your students or deliver performances that reflect your full potential.

How can you be involved?

We’ve already started creating content for this project and are now seeking the further support of pianists and teachers via our crowdfunding campaign to help us make this resource as good as it can possibly be. A number of great rewards ranging from discounted subscriptions through to opportunities to sponsor lessons and obtain a one-to-one consultations with me are on offer. Supporters will also have an opportunity to shape the Online Academy by suggesting and voting for topics and content they would like to see featured. 

Please visit our campaign page to find out more and feel free to share this link with anyone you think might be interested.   

Keep Calm and...listen to Jelly

I do wonder whence all these amazing recordings on Youtube are popping up. They don't grow on trees and many were never released on LP, let alone CD. This, of Jelly d'Arányi and her sister Adila Fachiri (who have become the main characters of Ghost Variations) with the pianist Ethel Hobday playing the Gigue from Bach's Trio Sonata in C BWV1037, is simply glorious and the most cheering thing I can find on a morning on which everything else seems to be in meltdown, from the BBC's music TV department to ENO to our newspaper to...

oh blast it, here's the Bach.

Farewell to Steven Stucky

The new music world is reeling after the news of Pulitzer Prize-winning composer Steven Stucky's untimely death on Sunday at the age of 66. One of his country's best-loved and most often performed contemporary composers, Stucky had fought a short battle with an aggressive form of brain cancer. Here is his obituary from the New York Times.

The Philharmonia Orchestra here in London fortuitously made a short film in which Stucky and his friend and fellow composer Esa-Pekka Salonen, the orchestra's chief conductor, discuss the music of Witold Lutosławski. As a tribute, here it is.