The Juilliard Experience
Dear Greg,
I'm an undergraduate piano performance student at the University of Toronto and also have taken lessons with Jacob Lateiner in New York. I wanted to study at Juilliard for my undergrad degree but this did not work out, as such I am planning to apply again once I finish my B.M. and artist diploma here. My previous teacher graduated from Juilliard (studied with Mr. Lateiner herself) and always told me it was impossible for me to get there. That may in fact be true, but I'm still going to try. I am just wondering - who was/were your teacher(s) and what were a the key concepts/lessons you learned from them? What was their teaching style? Of course, graduating with an M.M. from there is an incredible accomplishment, and you do play brilliantly, but how did you get to perform the way you do now? Did you enjoy your years at Juilliard?
With Respect, Jarred D.
Dear Jarred,
The six years I spent at Juilliard (B.M. and M.M.) were amazing, constructive, and productive. The energy within the Juilliard walls is phenomenal... absolutely inspiring. My colleagues were genuinely supportive and friendly, my teachers showed utmost concern for my personal well-being and musicianship, and the administration worked hard to push my peers and me beyond our comfort zones and into the real world. The school also supplied me with incredible performance opportunities.
I'm not sure where some of the untrue myths originated, but contrary to some popular beliefs, Juilliard is not a factory for automatons. There are no razor blades between the keys. Students and faculty members are not viciously competitive. The school does not value accuracy and virtuosity over musicianship. For an example of the contrary, check out the program notes to this concert that my piano class put together of our own accord.
Sometimes I wonder if people were so unfortunate as to listen to a performance by one of the few unmusical beasts who got lucky during their Juilliard audition... and then the listener made judgments about the entire school. Sometimes I wonder if people who didn't get into Juilliard spread fallacies about the school to ease their pain. Sometimes I wonder if a few Juilliard students found themselves intimidated by their surroundings, and blamed the experience on the school rather than on the source of the problem -- on themselves.
For the most part, I found Juilliard to be a happy and energetic place. I was constantly inspired by the performances of my peers. In a lonely practice room, Orion Weiss gave the most incredible performance of a Mozart sonata I have ever heard; Mozart's music has never sounded the same since. Melody Brown made me tear up while playing the music of Henry Cowell, and Elizabeth Joy Roe made my hair stand on end while running through the Barber Piano Concerto in studio class. My class of freshmen dancers (I was a T.A. for their music theory class) showed me just how exciting Gregorian chant can be; their innocent wonder couldn't have been more beautiful. And I had no idea that a simple twist of one's breath could make me writhe in my seat as it did during a fourth-year drama production. My Juilliard experience was amazing!
I apologize for my long-winded diatribe which was, for the most part, unprovoked. Too often, I find myself rolling my eyes when a musician says, "Oohhhhh... you went to Juilliard..." with a certain implication of disapproval. Your question didn't suggest any of that, but it brought up the issue, which I was clearly happy to write about. To be succinct, I loved my Juilliard experience. :-)
My primary teacher at the school was Julian Martin. I have no trouble singing praises of the man, but it would probably take me too long to fully express myself. In short: he is one of the most articulate musicians I have ever encountered. He can describe exactly how music works; although his demonstrations at the piano can be equally inspiring, what amazes me more is his ability to find the right words to describe his intentions. A few carefully chosen words, and *bingo*, you've just plunged deeper into the music than a few hours of practice could have afforded you.
I would hesitate to list key concepts/lessons that I learned from Julian Martin. I studied with him for six years, often for more than a mere hour a week, and I believe that any simplification of his ideas would be unfair to him. He is as inspiring teaching Bach as he is Rachmaninoff, and the sheer volume of ideas, concepts, principles, and information I learned over my six years could fill several books.
Thank you for your interest, and I wish you the best as you prepare to audition again!
- Greg
Juilliard Connections
Hi Greg,
I read your response about your Juilliard audition and saw your repertoire at the end. Wow - my repertoire is EXACTLY the same!! I am a senior in high school auditioning, and I was wondering what connections (if any?) you had to the faculty before your audition - masterclasses, lessons, etc. Thank you!!!!
- Mariam
Hi Mariam,
Wow -- what a coincidence that our audition repertoire was exactly the same!
I didn't have any connections when I applied to Juilliard. The closest thing to a connection: I attended Bowdoin Summer Music Festival during my sophomore year of high school -- while I was there, I watched Veda Kaplinsky teach a masterclass. I can definitely attest that Juilliard admits students based on ability, not connections.
- Greg (Oct. 24, 2009)
Chopin Nocturne
Dear Greg,
I am currently playing the Chopin Nocturne op 48 no1 in C minor. The music isn't too difficult until the crazy, passionate, difficult, fast return of the first theme. My hands are small and it's really hard to hit all the notes and voicing is extremely difficult because there are those big chords that support the music yet the melody is often times a single note (usually a higher, lighter note). How would you bring out the melody more? Without pounding away until your fingers hurt midway? What is your interpretation of the piece? Does it have to go really fast? I would like my music to be beautiful, not clashing to the ears. Thanks so much!
- Elaine
Dear Elaine,
By the looks of your question, you are well on your way to a masterful interpretation! All of your concerns and considerations are valid; it's that kind of thinking that will lead you to good technical skills.
Your teacher will be able to help you more than I could, but I will offer a quick suggestion. If you'd like to voice a chord to the right side of your hand, you should direct the weight of your arm (the weight from your upper arm and your lower arm) to that side of the hand. I find that my wrist adjusts to accommodate this by moving to the right as well. This way, I am able to use the natural weight of my body to produce a full, beautiful sound. It takes much more work (and the sound isn't nearly as nice) to play the piano by the strength of your fingers alone.
I confess that I really like the return of the theme to be exactly as you described it: crazy, passionate, and fast. Practice it so that you can play it effectively fast or slow; in other words, you should be able to play it any number of ways: slow and tormented, fast with direction, loud and grand, quiet but intense, etc. Then in performance (and here's the kicker), you should let yourself go - let yourself be carried away by the music. That section is all about the passion and intensity of the moment.
Have fun with such beautiful music!
- Greg
Scores for Sale
Hi Greg!
I'm impressed! I want to know if its possible to get the sheet music of you piano variations on a theme by Nokia! thanks
Rafael
Dear Rafael,
Thank you for your interest! Unfortunately there are copyright issues for me to untangle before I could ever begin to think about publishing the score. Today's modern world makes it very difficult for classical composers to reference popular culture sources. Had the composers been alive today, Saint-Saëns could never have composed Carnival of the Animals, copyright law would have prevented Liszt from writing his transcriptions, and Mozart would have gone broke paying necessary fees to write his variation sets.
Someday, when I have an army of lawyers at my disposal, perhaps I can consider publishing my variations and Star Wars Fantasy. For now, you can find the scores available for sale on the scores page.
- Greg
Blue Danube & Libertango
Dear Greg,
hey can i ask if your piano duet scores are for sale? i am interested in specifically the piazzolla's tango and the blue danube. Love it!! =)
- Jeremy
Dear Jeremy,
Thanks for your interest Jeremy! Unfortunately the Libertangoarrangement and A New Account of the Blue Danube Waltzes are not for sale. Not only have Liz and I decided to make a couple of our arrangements exclusive for a while (we know, how nasty of us!), but several of our scores are still completely illegible (including both of these) and face an onslaught of copyright issues. The day I get around to settling these copyright issues and manage to notate the messy handwritten manuscripts into the computer, I will post the news on my website and email the mailing list. I hope that day won't be too far into the future, but I honestly cannot predict when this will be!
However, in the meantime, there are a number of other scores available for purchase. Visit the compositions page for more information. For those of you looking for wild four-hand/one-piano music, consider the Sabre Dance arrangement. Additionally, you will be able to hear several of my latest compositions on the upcoming Anderson & Roe Piano Duo CD, to be released early this winter, including "Erbarme Dich," "The Cat's Fugue," "The Cuckoo in Sussex," "Danse macabre: remix," and "The Swan," all available for sale.
- Greg
Some Programming Suggestions
Dear Greg,
I am a college student who has recently won a prelim to my state competition for the miss america program. I have been advised to change my piece from a "dark" comtemporary prelude...??? Do you have suggestions for a dramatic and impressive piece from which I can easily arrange a 90 second segment? I am a classically trained pianist with over 13 years of lessons and will be working with my teacher on the new selection. Any suggestions will be greatly appreciated--I am considering Lecuona's "Malaguena." However, I am not set on it or on that type of piece!
- C.T.
Dear C.T.,
Ummmmmmm. It's sounds like you need a very short but not horribly difficult encore piece. Off the top of my head: Liszt's First Transcendental Etude, Flight of the Bumblebee, Prokofiev's March from "The Love for Three Oranges."
Good luck with the pageant!
- Greg
More Programming Suggestions
Dear Greg,
My teacher told me I need to play something "big" and she said either Liszt or Rachmaninoff. I've played the Rach Elegie but have never played Liszt. She said a Liszt etude maybe? I like the Rachmaninoff Etude in d and think it would be easier than a Liszt etude. What would be a good liszt or rachmaninoff piece. I'll be using this as part of my audition/senior recital program so it I agree it needs to be good!
Josh in MS
Dear Josh,
Oooooo. I really dislike programming for judges. (Of course, I understand your dilemma.) I can make recommendations, but remember that I've never heard you play and I don't have a sense of your strengths and weaknesses.
There are a couple Rachmaninoff etudes in D minor, but I assume you are thinking of the calmer one. If you like it, then you should play it! Otherwise, many of the Liszt etudes aren't as hard as they sound (and many of the Rachmaninoff etudes are harder than they sound!). The second Transcendental Etude (in A minor) is pretty straightforward, but it packs a punch (perhaps your best bet). "Wilde Jagd" is a little tougher but still manageable. "Waldesrauschen" and "Gnomenreigen" are both good choices. "Un Sospiro" and the fifth of the Paganini etudes aren't especially "big," but they are beautiful pieces of moderate difficulty. Outside of the etudes - Liszt's transcription of Danse macabre by Saint-Saens is very impressive and not too difficult. It may not be "serious" enough for an audition. There are a couple movements from the Annees de pelerinage that could be appropriate - the Sonettos, Au Bord d'une Source and, Les Jeux d'Eaux a la Villa d'Este.
As for Rachmaninoff, have you considered some of the Preludes from Op. 23? Or the Moments musicaux?
- Greg
Advice for Solo Programming
Hello Greg,
I am a Senior Music Education student and was wondering if you had any ideas for a senior recital program design. I play the Alto Saxophone but I thought that maybe you'll have some different aspects to bring to it.
Thanks,
Jordan
Dear Jordan,
Gosh, I can't say I've given much thought to Alto Saxophone programs. The first programming idea that comes to mind is a group of pieces based on song, capitalizing on the lyrical nature of your instrument. You could create your own transcriptions (it's really easy - just play the vocal line). ...perhaps a Schubert song or two, Faure (Apres un reve), Rachmaninoff, even Bach. Then you could include a couple more recent songs - a jazz standard, and a sophisticated pop ballade. A friend of mine played transcriptions of Sigur Ros and Radiohead on his senior recital. Is it sacrilegious to transcribe classical songs for sax? I don't really think so. I think such a program it would highlight just how much today's pop music has in common with 18th and 19th century music.
I wouldn't recommend filling the whole program with song transcriptions - too much of a good thing! You could balance them with some virtuoso showpieces, or a meaty contemporary piece.
You should also toy with finding ways to add your friends to the recital. It's really difficult to program a solo recital that will hold an audience's attention from beginning to end. Continually changing the performing forces is an easy way to prevent monotony. It will also help bring in more audience members! A good rule of thumb is to increasingly add more people to the stage and end with the most, although sometimes the reverse can be surprisingly effective.
I wish you and your audience a wonderfully enjoyable program and performance!
-Greg
Electric vs. Acoustic Pianos
Dear Greg,
I own a yamaha P250 ditigal piano and its really nice. The only thing is I just don't get that "acoustic" feel. It sounds just like an acoustic, though I still don't get that feel..I occassionally go to Eastman school of music to use their pianos, but it uses a bit too much gas.. And I 'm only there like once a week for 2 hours. My parents currently cant afford an acoustic, especially since the American ecomony is down. Do you think after this ecomony thing I should ask my parents to begin to invest in a real one? Or do you think I should just stick with the P250 until I move out and buy my own? -Kalen
Dear Kalen,
It's not just the feel, but the *sound* of digital keyboards that will hinder your growth as a pianist. Digital keyboards are unable to recreate the natural blend of overtones heard on a real piano; furthermore, they lack the immense variety of tonal "colors" that a real piano can create. As a pianist, it is necessary to learn to control these colors and overtones in beautiful ways. Developing your skills on a digital keyboard will weaken your ear's ability to hear these differences and it will prevent you from truly learning to exploit the tonal possibilities of a piano.
That said, you probably should evaluate your priorities first. If your number one priority is to become a classical pianist, then you really should be training on an acoustic piano, preferably a grand piano. If playing the piano is just one of many things you enjoy in life, then perhaps you should stick with the keyboard. Keyboards certainly have many advantages (I use my Yamaha P80 quite often!): they stay in tune, they make less noise, they hook up to a computer, and they are more affordable. For an aspiring concert pianist, however, these advantages are small when compared to the feel and sound of a real piano.
- Greg
Upgrading to an Acoustic Piano
Hi Greg!,
First of all, your videos and compositions are great, you and Liz are really unique!. I have a question for you, when do you think it is advisable (for a classical piano Student who wants to play like you, basically :D) to move from a digital piano (in my case, a Yamaha Clavinova CLP-240 with the Grade Hammer 3 stuff) to a grand piano?. And another one!, my teacher says I should play staccato notes by lifting my wrist a little (hand above the keyboard, but not touching it, slightly above, like floating! ) and hitting the keys from that position (just moving the fingers, the wrist stays just there, in the floating position). She says that is to avoid future injuries or something like that, but I found it very unnatural, why do you think?. How do you play staccato notes (not super fast staccato notes, but, for example, staccato for bach inventions, sinfonias, etc). Please post more videos!, a new parody :D
- Raúl
Dear Raúl,
Switch to an acoustic piano as soon as you can afford to. It doesn't necessarily need to be a grand (I practiced on an Everett spinet until I was 16 years old!!), it just needs to have real hammers hitting real strings. Of course, eventually you will need to switch to a grand piano. Electric keyboards are handy (I have a Yamaha P90), but they do not do a very good job of recreating the resonance of a real piano. As a student of the piano, you should be developing your ear for color and timbre, and these pianistic traits are impossible to imitate on an electronic keyboard. Even the action feels different on a real piano - staccato notes in particular!
As for those staccatos that are giving you so much trouble, I'm afraid I can't help you. I do not consider myself to be a specialist in the mechanics of playing the piano. If anything, you should talk to your teacher. Perhaps he or she isn't explaining it effectively, or perhaps your discomfort is a symptom of something else. Your teacher should be able to clear this up for you.
- Greg