A friend just sent me a link to a video of a two-week masterclass led by John O'Conor in Italy that focuses entirely on interpretation of Beethoven works. Only eight students are accepted, and they all must have already demonstrated (proven) their ability as pianists in public. To apply, you need to have five Beethoven sonatas and two Beethoven concertos performance ready, and more importantly, you need to know someone who knows John (so I infer). O'Conor talks about how many teachers call him years in advance, hoping for a space for their student in the class: "Yeah, it's kind of a big deal." Chosen students spend two weeks being yelled at jovially by Mr. O'Conor and give a nice recital to invited guests in the church where famous German pianist Wilhelm Kempff would perform when he used to lead the Beethoven class. Then O'Conor tells the camera who he thinks could make it as a professional musician, scrutinizing in detail each student's technique, interpretation, composure, and personality.
Part of me feels worthless that these folks who already win international competitions, give successful concert tours all over the world, and play beautiful music are still just babies in O'Conor's opinion (then what am I? what will I ever be?). The other part of me thinks O'Conor and this whole culture he's wrapped up in are just big snobby elitist jerks who, undeniably, are good at what they do, but are stuck in an old world tradition that demands that Beethoven must be performed THIS way and Brahms THAT way and your fingers must move in a particular fashion and even if you think you understand you probably don't unless you have a direct lineage back through Liszt and Czerny and Beethoven to Haydn himself.
Nah, I'm totally in love with that world. I am slightly suspicious of it, though, because it seems like it preserves old notions that becoming good and developing a strong technique is kind of a mystery, and those who are lucky enough to innately have it are the only ones worth teaching. But I guess I can't criticize this particular master class. It is called a Beethoven Interpretation Class--technique is not the focus, so a good foundation better already be there.
What I'm wary of is the idea that there is a right way to play Beethoven, or any particular composer for that matter. There's a narrow window within which there can be variation--you must understand Beethoven and his rules before you can have your own style of Beethoven. But what I love about music, literature, or any art form is that it necessarily requires the interpreter to have an active role (in music you've got the performer and then the audience member, too)--in good art, there's room for difference in interpretation. I like that O'Conor emphasizes getting these students within that narrow window, and then amping up their individual voices: "You must listen to every recording of the piece, but only listen to each one once. It's possible for a nonmusician to have a favorite recording, but a pianist must preserve his integrity."
I Owe You Nothing
4 hours ago
