Avoiding the Amateur Pianist ‘Arms Race’
Something I’ve noticed on more than a few occasions at amateur piano performances is that the repertoire featured is often incredibly impressive. However, the performances are often less so. In general, pianists (myself included!) tend to select pieces that are too difficult for them, the time in which they have to learn them or both.
So why does this happen? I’m most cases I do not believe it’s showing off, but rather a combination of other factors. Firstly, pianists generally like challenges and many of the great works for the instrument that we want to play are fiendishly difficult. Often the pieces we’d choose (or have chosen for us) when learning would usually be a stretch in order to develop our skills so this habit goes back to the beginning for many of us.
Then there’s the perennial underestimation of the “attainment gap” — the difference the level we can achieve in the comfort of our own home and on the spot in performance. This all leads to pieces of increasing complexity being featured and creates a form of sub-conscious “arms race” in which the level of what is perceived to be acceptable to play is continually increasing.
The impact
There are a number of unintended consequences to this. Firstly, it’s daunting for the majority of people who are not scaling the pinnacle of the repertoire. Regardless of how well prepared you are, would you want to play a Petzold Minuet if everyone else is playing Chopin and Rachmaninoff Etudes?
Then there are the classic scenarios which we’ve all seen and possibly even experienced first-hand. The one is the piece that is under-prepared which falls apart when presented. There’s nothing wrong with a few wrong notes, but if the focus is on just trying to play more right notes than wrong ones then the music isn’t being done justice.
On the opposite end of the preparation spectrum, there’s the piece that is mastered, but the path to mastery took ages. So much so that it’s the only thing that you can play at each performance. Or you only play once every year or two to avoid repetition. While perhaps producing a more musically satisfying result, these scenarios can result in getting caught in a rut and deprive you of opportunities to share your playing more regularly.
Lastly, by constantly selecting more technically challenging repertoire, we miss out on so much fabulous music. It’s absurd to think that the only music worth playing on the piano is grade 8+!
What it’s all about
When we’re pre-occupied with avoiding looking bad, we end up with a misguided focus on technical prowess and forget that music is about so much more than just an accurate rendition of the notes. Our ego gets in the way of what we’re actually doing this for.
Yes, rapid jumps, repeated notes or fast passages are physically difficult, but regardless of these elements, serving the music and creating something meaningful is always a challenge.
Some of the best performances I’ve heard have been by pianists with less confidence (not enough rope to hang themselves with!) who have had the courage to play a piece which they can do justice to. Particularly enjoyable examples were a Grade 5 piece played with incredible sensitivity and a Grade 1 piece in which the performer exuded an overwhelming delight in playing it. This is what it’s all about, especially in the context of an amateur concert. If you want to see technical proficiency, you can go to the Barbican or search YouTube!
How to avoid this problem?
The answer would appear to be obvious — just play easier pieces! However, this is not as simple as it sounds given the various factors mentioned earlier in this article. Admittedly my own awareness of this tendency has not stopped me from falling into the same trap time and time again!
I believe that the solution starts with shifting your focus from what you think (often incorrectly) others will think of what you’re playing to what your purpose in playing is (or should be). Can you honestly say that you are serving the music or are you protecting your ego? How do you feel when you play — joyful and alive or is something missing? Answering these questions authentically on a consistent basis is a good way to check and re-align your approach.
On a practical level, it’s important to be wise in your specific choices of repertoire. One way to do this is to use examination syllabi and gradings as a guideline e.g. if you struggled with a Grade 8 piece, then perhaps try something from Grade 6 or 7. Regardless of grading, you can try read-throughs of potential pieces to get a feel for where the difficulties lie and roughly how much further work would be required to tackle them.
Music is so much greater than our individual fears, insecurities or abilities. Every time you play you have a incredible opportunity to share something personal and special with others. Choosing repertoire that allows you to do this when performing, rather than be consumed by technical challenges, is essential for you and others to derive enjoyment from your playing.
