The link between body and music is complex and inseparable. The perception and interpretation of musical works are carried out by the body. Any pianist can tell you: playing the piano involves the entire body and we often push it to the limits. We overuse our body, but what do we give in return?
Journal >> 2009
Genevieve Joy died Friday night in her sleep at the age of 90 years old. Key figure in contemporary music, she had played a major role in the spread of contemporary piano repertoire, creating works of her husband, Henri Dutilleux to whom my thoughts are, but also other leading composers like Pierre Boulez and Andre Jolivet. She has highlighted in her work the composers much more than herself.
A long time ago, I wrote few lines about Arturo Benedetti Michelangeli and my fascination for this pianist. Today I propose a short video to better understand one of the things I find very interesting in his play. When speaking about pianists, we must naturally consider the direct musical result but I think the visual aspects of their playing should not be forgotten. In Michelangeli, this component is exceptional.
Loneliness is an issue that quite often comes up in discussion with people who know and follow me. I work alone, I play alone, I like being alone most of the time, but isn’t the feeling of loneliness heavy and suffocating? It is true that I don’t meet my friends very often, I am not a big fan of mass meetings and that I avoid crowded places. But in another hand, I like chatting over the phone and mailing them.
I know I have not written a post for a while… The recent weeks have been difficult and I had neither the desire nor time to write something. Today I’m going back to my blog after a bad flu which has left me weak and tired. As usual, I didn’t want to go and see a doctor, and that did not help. But here I am, at least partly. Partly, because I’m not playing the piano seriously these days.
After 10 years of intense work, Pierre-Arnaud Dablemont takes a sabbatical. Until summer 2010, the pianist will not appear on stage. This nedded break, long-planned, will give the musician time and space for deep thinking.
Last week I wrote here about going on stage and I evoked the “lucky charm”. Today I will focus on pre-concert rituals as well as these charms. Some do not have rituals or lucky charms, and others elaborate complex rituals which become totally obsessive. Star’s whim or real necessity?