If a particular passage is causing trouble the muscles may be tensing up so one should
first consciously relax the whole of the body, especially the neck, shoulders, arms, wrist
and fingers. One may then practise the passage in different ways. These include
practising it staccato, with a lighter touch, with the wrist higher or lower, with flatter or
rounder fingers, with the hand closer in to the keyboard, or with a freer elbow.
It is not the greatest number of repetitions of a piece that is important but the greatest
number of correct repetitions. To help with accuracy always practise steadily and
carefully, very slowly at first, gradually increasing the speed over a period of time.
When practising your piece as a whole, bring out its character. If the piece is a dance,
imagine how the dancers would be dressed and how they would be dancing. If the piece
is descriptive, concentrate on bringing pictures to mind. If the piece is like a song
without words, make up your own words, reflecting on the mood of the music. Imagine
the piano texture as coming from a large orchestra or a small chamber music ensemble, or
imagine the piano melody as being played by a cello, clarinet or oboe. Once you have
learnt the piece make it your piece but listen to other performances and recordings to get
inspiration.
Practise your newest pieces before your more familiar pieces. Practise a piece sometimes
without playing it at all. Sit down with the score and read it through, giving the perfect
performance in your mind, then sit with your eyes closed and do the same without the
score. Record yourself playing a piece. Listen to your recording noting the parts that do
not satisfy you and record the piece again.
PROKOFIEV
Sergei Prokofiev (1891-1953) was a Russian composer and pianist and one of the major
composers of the twentieth century. His piano style exploited the percussive possibilities
of the piano.
Prokofiev was the soloist with the London Symphony Orchestra, conducted by Piero
Coppola, in the first recording of his third piano concerto, recorded in London by HMV
in June 1932. He also recorded some of his solo piano music, including his Suggestion
Diabolique and some of his Visions Fugitives, for HMV in Paris in 1935. Those
recordings have been issued on CD.
Piano concertos
No. 1 in D flat major opus 10
No. 2 in G minor opus 16
No. 3 in C major opus 26
No. 4 in B flat major opus 53 (left hand)
No. 5 in G major opus 55
Piano pieces