I read a bit 'of time is a wonderful book, "Conversations With Arrau" by Joseph Horowitz.
As the title reveals, the question of talks took place between May 1980 and July 1981 in Douglaston and Vermont between Joseph Horowitz (writer, essayist and journalist eminent American music) and Claudio Arrau The รณ n, Chilean pianist, one of the best interpreters of the twentieth century. The book is very interesting conversations, faithfully recorded and transcribed, respecting the language, vocabulary, and the interactions of the pianist, are held almost as interview - question-answer - and confront various themes: childhood, the success of ; child-prodigy, maturity, piano technique, repertoire, etc. ... What struck me reading these conversations was the part of the period of life came post-mortem of Martin Krause, the teacher Arrau, marked by personal and artistic crisis of the Chilean pianist, culminating in a period of psychoanalytic treatment with Dr. Hubert Abrahamsohn.
I was amazed at the sincerity and honesty with which Arrau speaks of attachment to his teacher, affection, esteem and consequent loss caused by his death. But most of all I was amazed at the sincerity in the story, not only as an artist, but as a man. One can draw valuable lessons from the great men, this I know for sure, and it is obvious that reading a few lines of these conversations we can better understand the relationship between man and artist-audience.
How many times, and I say to musicians, you happened to feel alone on the stool in front of your instrument. Anxiety, fear of failure, guilt, the fearsome escape when their memory should not, his hands trembling, the heartbeat increases ... They are all feelings that a musician knows. Emotions are terrible but beautiful at the same time. Especially noticeable when the curtain falls, when the lights go down and everything is gone. And it's nice when you come back after a few years in mind, a bit 'blurred by time spent. You paint a smile on your face, (I'm sure) when you think of fear experienced in those moments.
I posted a small part of the book of which I speak. I have no reported claims of J. Horowitz (I do not want!), But I just extrapolated the answers (the ones most important to me), then it will seem that it is not a monologue.
" We want to play in public, not 100%, because it does not exist, but at least 90%. Below this rate, it can sometimes be fatal (.. .) I realized through analysis, that the difficulties in which I struggle depended on my vanity. (...) I mean in the sense of vanity is not to be presumptuous, but to want to please. And this depends, of course insecurity . (...)
When you are very young there it is aware of being observed, and it does not matter.
But over the years you begin to wonder what people think. (...) Being a human means to be anxious. It 's ridiculous to behave as if you did not, as if he felt panicked before going on stage. I had to learn to live with my anxieties (...) Someone thinks he could get rid of anxiety, making a terrible effort not to accept it. But anxiety is always there. If one feels too cocky or too confident, then there is something wrong (...)
I believe that experience anxiety, the anxiety of humanity, makes a person able to share any kind of human feeling. Empathy is one of the most important qualities in an interpreter (...)
By the time I learned that you should just let things happen without caring much to please the public, to be successful. In this case the anxiety ceases to be an impediment to creativity and can become part of the (...) Almost every performer needs fight the temptation to bottle (...)
I used to think it was the end of the world and sometimes we put the months to recover. I wanted to be perfect, divine, above all imperfection or error in memory. But this produces the opposite effect, forever. Now I'm not the most anguish.
must say to themselves: " 's ridiculous to be so concerned, they are not infallible " "
must say to themselves: " 's ridiculous to be so concerned, they are not infallible " "
(Claudio Arrau)
It 'a great experience and it's all enclosed in a nutshell. The rest Claudio Arrau said it with your fingers.
DF
