Playing-related injuries are rampant in the classical music world. If you’re a performer and have never dealt with one, you’re an exception to the rule. Surveys of classical musicians typically come back with numbers like 50-80% having dealt with a playing-related injury at some point in their lives. When I’ve written and talked about my past injury, other pianists have come out of the woodwork asking for advice on how to deal with their own. Continue reading “How I healed from a musician’s injury”
I often find myself in conversations about classical music with people who know relatively little about it. I love when this happens. I appreciate the opportunity to communicate about what I do to someone outside the classical music bubble, and to hear their perspective.
There is pattern I notice in a lot of these conversations. Usually, the other person is pretty quick to mention that they don’t know much about classical music. If they do have a personal experience to relate, sometimes it takes reassurance from me in order to make them feel comfortable talking about it.
Musicians often express supreme reverence toward Mozart, and with good reason. But to think of Mozart simply as the embodiment of musical perfection is not always helpful to performers of his music. There are times when we need to be flexible and creative, and maybe just a bit less reverent.
If the goal of a performer is to bring music to life in a way similar to what the composer envisioned, then playing a Mozart concerto exactly as written is not, in fact, a great way to achieve that goal. I’ll explain why.