Tag Archives: music performance

Is There Editing in Classical Recordings?

I have vast experience with editing recordings, having owned several recording studios over the years and have been present during my father’s recording sessions from a young age. I have produced countless albums as well as demo recordings. Yes, there is editing in Classical recordings and you might wonder how this works. You play a piece, and miss a note. So, can you put the correct note in there? How does it work? With modern technology you almost can! In previous years, not that long ago in the days of tape, it was possible to razorblade edit and you would not believe what was possible even then!

Here’s the key: To be able to get successful edits in music, you have to have a keen understanding of the work. That’s why the producer of a recording and the engineer have to understand music in a deep way. For example, if you were to try to edit a performance to make a perfect recording by playing until you missed something, then started there and continued on to the next place you missed, then going through the whole piece that way, you might get all the notes, but you probably will not get much of a musical performance. Continuity and cohesiveness has to be achieved in the editing process. So what is generally done is to play complete works several times. You choose the best take as the foundation and replace key sections to achieve accuracy.

You don’t just put in missed notes here and there, but you might take the first exposition of a sonata and maybe a development from a different take then perhaps the recapitulation will come back to the first take. If there’s a particularly thorny section of a piece of music that is really difficult to play accurately, it’s important to remember that you cannot edit in anything that you can’t play. You have to be able to play all the notes at some point! If there’s a particularly difficult section, they might have the performer play that section many times so they know it’s covered. In a worst case scenario, it’s possible to cut in before and after that section. It’s critical to know where you’re going to try to cut in later so that you don’t just try to squeeze something in.

If you have total silence, you can always cut in. A strong, decisive chord that punctuates a new section can mask edits as well. So there’s a great deal of editing in recordings, but not the way you may think. It’s not about replacing missed notes even though with digital technology that may be possible. It’s almost at the point where you can do that, but you’ll never get a fluid performance on a high level of expression and continuity trying to edit that way. You’ve got to be able to play the notes, it’s just a matter of saving time. Think how many performances you would have to do in order to get a perfect performance of a work that takes 20 or 30 minutes. You might miss one little thing here or there which may go unnoticed in a live performance, but in a recording you listen to again and again it becomes an annoyance. So, in a best case scenario, editing enables note perfect recordings in the hands of a producer who has the ability to draw out the best performance of an artist.

Do Performers Make Mistakes?

The questions today is, “Do performers make mistakes?” I am referring specifically to Classical performers. You see them on stage playing and it seems effortless and perfect, but do they make mistakes? There is a lot to this question because first of all, of course performers make mistakes and brilliant performers sometimes have train wrecks, but it’s quite rare. Usually what happens is there’ll be something that may distract the performer and they have a mishap, but unless you’re intimately familiar with the score, seasoned performers know how to hide the mistakes well enough to not disrupt the performance. It’s not just that they’re trying to make themselves look great, it’s also that they don’t want the audience to feel uncomfortable.

This is an important skill, but there is more to it than that because performers today actually do play scarily accurately. If you compare performers from a generation or two ago, some of the greatest pianists of all time like Alfred Cortot, Arthur Rubinstein to Artur Schnabel, there are countless recordings that were made years ago where you’ll hear mistakes often in pre-WWII recordings of great artists with lots of missed notes. It is important to note that these recordings were made before the advent of editing. Yet even live performances today are on a much higher level of accuracy generally than years ago. What happened and how is everybody playing so accurately today and what does this mean?

I’ve talked about this quite a bit and of course today it’s quite obvious everybody hears everyone because of the internet. Even before that we had a generation of musicians growing up hearing edited recordings that were note perfect. As a result, everyone is expected to achieve this high level and there’s a certain homogenization of interpretations and tempos as well as voicing and other aspects of performance because everybody knows how everyone else plays. There is a standard level that is accepted today whereas years ago there was much greater variety. It’s true that the accuracy of performers and the sheer technical mastery that so many pianists and other instrumentalists have achieved is awe-inspiring.

On the flip side there isn’t as much experimentation. When listening to historical recordings, made from 78 rpm records, performers often take chances and liberties that nobody would dare today. Occasionally they’d fall flat on their faces. But when they didn’t, they achieved highs rarely heard anymore. So, accuracy is important and it is important not to make an audience feel uncomfortable. But yes, performers do make mistakes even though they hide them extremely well! It’s not all about accuracy, is it? I’m interested in your comments which you post here on LivingPianos.com or on YouTube. It’s a great subject and I would like to know what some of you think about the great old performers and if the missed notes are too bothersome to where you’d rather have more perfect performances even if it sacrifices a bit of the wild expression! Thanks for joining me Robert@LivingPianos.com.

3 Ways of Performing Music

There are 3 fundamental ways of thinking and being while performing music. These thought processes are not just in performing, but in life itself. They are:

– Linear
– Random
– Cyclical

Linear thinking is typical of Western thought. In fact it is expressed best in scientific method in which chains of facts and observations are strung together methodically forming theories. Most of us think linearly most of the time because we think with words which by their nature force you to think from one point to the next forming a line of thought.

Eastern thinking is sometimes exemplified by meditation which can be described as pure thought. Westerners think of it as clearing the mind since you have to stop the internal dialog. Yet just because you are not forming words in your head doesn’t mean there is no awareness or thought. You are still taking in the world, but you are not trying to define it. This is a random thought process of all thoughts merged into a kind of oneness.

Before I explain how all of this relates to musical performance, I want to bring up the third type of thought. Unlike the two preceding types of thought, cyclical thinking is generally destructive. By its nature it goes nowhere and is akin to a feedback loop. Like a sound system in which the microphone picks up the sound of the speakers and quickly escalates into a loud noise, sometimes thought patterns can cycle through creating an escalation of negative emotions. An extreme example of this is compulsive obsessive disorder in which a person may irrationally keep repeating an action over and over again beyond any logical reason. Another common example of cyclical thinking is insomnia in which you may lie in bed thinking about how you need to go to sleep and just when you start to fall asleep, again you think about how you need to fall asleep repeating the cycle.

So now how this relates to musical performance is this:

Linear thinking is absolutely necessary in the successful performance of music. After all, you must get from point A to point B and so on. A great performance of an etude for example may be one in which everything is perfectly planned out and executed with confidence having achieved consistent results through every section of a piece again and again. However, a perfectly planned performance can sometimes lack in spontaneity.

Random thinking can at best be electrifying keeping the audience on the edge of their seats wondering what will happen next. The performer doesn’t rely completely on planned skill sets of getting from one note to the next in a perfectly planned way, but allows himself to create something new at that moment. It is necessary to have some sense of where you are in the piece or you could take a wrong turn or try something in a performance that you aren’t capable of playing!

Cyclical thinking during a performance can be a nightmare. After preparing for weeks or months for a concert, some unfortunate event happens perhaps from a momentary distraction or finger slip, and from that point on you start thinking about the possibility of it happening again. It can become a self-fulfilling prophecy as each mistake leads to the next.

So in a successful performance you must forgive yourself for not being perfect if something unfortunate happens and keep a sense of enjoyment in the moment so you avoid the possibility of getting into a negative cycle of thought which can ruin a performance. Ideally, you have a blend of linear and random thinking so that you let the spontaneous, playful spirit inside you carry on while the linear part of your mind keeps things in order and allows you to express yourself freely while maintaining excellent control.

Should you Perform Music for Free?

This is a topic that a lot of people have very strong feelings about – either one way or another. Being a musician – no matter what genre you play – is so fiercely competitive that many venues and booking agents don’t only expect people to play for free but they sometimes actually expect the musician to pay them in order to perform.

This is not a new concept but it’s more widely used today more than ever. For example, musicians who play New York recitals actually pay in order to perform so that they can get reviews. They hope to sell enough tickets in order to break-even but they could be on the hook for a lot of money out of their own pockets if they don’t fill up the hall.

For rock bands you are often put in a position of what are called “pay to play venues” where they will issue a certain amount of tickets and require you to sell them. If you can’t sell all the tickets you still owe them the money so often times bands will need to shell out hundreds of dollars to perform. Most of the times venues will do little or minimal promotion for an event and the bands will be stuck marketing their own shows as well – so if you don’t sell any tickets or bring an audience you could be playing in front of an empty room (which happens more than you would think).

Getting back to the question at hand, should you perform for free? It’s something you must decide yourself but you should also look at the situation in which the performance takes place. How much is there to gain in playing for free? Sometimes it can be worth your while to get yourself in front of a new audience.

For example, if you were offered to play at a charity event somewhere and there was a guarantee of a good sized crowd, this could be something beneficial to you for the exposure. Not only would you get to perform in front of a lot of people but many of them see you performing in support of a noble cause and will be much more interested in what you are doing. Sometimes there are opportunities of collaborating with great musicians which can make performing a benefit concert worthwhile. Prospects of getting audio or video recordings of events which you can share in your marketing efforts may also make things worthwhile.

You must be careful with any opportunity to perform for free. Even though you might not be paying to play, you will be paying with time and work on your part. You will most likely be responsible for your own transportation to and from the venue and you will have to take into account the time you will need to dedicate to the performance – both the actual performance and practicing. Is this going to be worthwhile for you? You have to ask yourself that question; you shouldn’t put yourself in a position of being exploited.

An example of a bad non-paying gig would be something like playing at a party. If it’s not for a benefit and nobody will be specifically listening to your music, is it worth playing for free? Most of the time it won’t be; in some rare cases you might want to anyway because you can gain benefit from the networking opportunity. As a musician you really should value your talents and hard work and you should not let people take advantage of you.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com

How to Improve Your Stage Presence – Part 4 Make Eye Contact

Welcome back to our five part series on improving your stage presence. Last time we talked about Taking Your Time for the benefit of both your audience and yourself.

Today’s topic is about making eye contact. This can be provide a huge benefit for connecting with your audience. When it comes to live performance it’s absolutely crucial that you make eye contact with your audience at some point. Just imagine what these videos I produce would be like if I never made eye contact with the camera. These videos are designed to be like a live performance or classroom setting. I make eye contact with my audience to engage the viewer.

When you’re standing in front of a large group of people it would be impossible to make eye contact with everyone but you will want to look at as many audience members as you can – try not to focus on only one person. Have you ever had the experience of being at a performance and having the sensation that the performer is looking directly at you? It gives you a sensation of awe and intimacy that wouldn’t be created otherwise. One of the best ways to connect with your audience is simply to look at them!

Thanks again for joining me Robert Estrin Robert@LivingPianos.com

Why You Must be Engaged in Your Musical Performance

This seems obvious enough. What would you be doing on stage if you weren’t engaged enough to give a performance? This topic has profound implications.

I remember when I was going to the Manhattan School of Music and I attended many concerts at Lincoln Center and Carnegie Hall. I would hear many emerging pianists and while most played brilliantly, sometimes I would find my mind wandering during some performances. I began to wonder if there was something wrong with me until I noticed that often times, there would be a memory slip by the artist just at the point that I would lose my attention. I began to understand what the real problem was.

The performer would become disengaged from their performance and it would cause them to have a momentary memory lapse. Beyond their mistake, the audience would become less involved in their performance and their brief slip indicated a loss of concentration. I began to understand the importance of staying engaged in your performance and staying focused.

It might be difficult to find enthusiasm for a piece you have practiced countless hours and played on numerous occasions. Sometimes a piece of music may become stale and your excitement for it has waned. So how do you keep yourself engaged and your audience excited?

When I perform a piece I have played hundreds of times before I try to find a new expression and find something in the music I haven’t discovered before. I bring new life to something so that it isn’t a routine run through but a fresh experience. This is something that gets me excited and raises my energy and focus during a performance. In doing this I am bringing a new level of excitement to my performance and engaging the audience in the process.

Keeping your audience engaged and entertained throughout your performance is something you must master; it’s one of the most important aspects of becoming a great performer and not just a great pianist.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729