# Chamber Music for Competition



## Turangalîla (Jan 29, 2012)

Hi everyone. I am preparing repertoire for this competition, and in the final round we must pick one of three chamber pieces. I have hummed and hawed over which one to choose...presently I have gotten nowhere. I would like a bit of help deciding-you can see the options in the poll. Please don't pick just your favourite piece...pick the one that you think would be most successful in a competition.

Here are a few of my thoughts already (do add your own in a post, if you will):

1. It is preferable to play something that is less popular. There will be four contestants in the final round...I have a hunch that the Franck might be more popular, but I am not at all sure of this.

2. I play for singers regularly (much more often than string players). However, I feel comfortable playing for both. I just have more experience with singers. (On the other hand, balance is more of an issue with singers.)

3. I am worried that Dichterliebe does not have the emotional ups and downs (and the 4th movement climax) of the sonatas. If I were to play it, it might sound bland against the other contestants.

4. On the other hand, Dichterliebe offers a wider range of mini-pieces and expressions. In addition, since it has words, it is easier to understand the emotion (and I can employ word painting in my interpretations-brownie points!  )

All thoughts and other pieces of wisdom are appreciated.


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## PetrB (Feb 28, 2012)

I can not stand the Franck. To hear it makes me nearly grate my teeth, I find it so annoying.

Each on your list is a chestnut in their own right. 

I chose Dichterliebe because I think them the road far less traveled, and all the rest (performance technical level, musicianship) being pretty equal on your list, I would think of the blast of fresh air those poor jurors might get if they heard the Schumann performed really well.

Break a leg, guy.


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## moody (Nov 5, 2011)

Certainly the task of an accompanist is a very specialised one.
If you can follow in the footsteps of Gerald Moore,Dalton Baldwin and Benjamin Britten you will indeed impress the jury and help the singer to great heights
Lastly "Dichterliebe" is quite wonderful.
If you do it right you will stand out above the others because I would bet they'll avoid it.


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## ptr (Jan 22, 2013)

Even if I, unlike PetrB, quite like the quirkiness of the Franck Sonata I also think that Dichterliebe has the widest range of the three works. Lieder interpretation from a pianist's side must be very deliberate in how to communicate with both the music and the singer, it will/must (I'm sure You already know) teach You restraint, because as a lieder accompanist You must leave most of Your personality at home, and this (I believe) will give You greater insights into the Zen of preparing for all other chamber music! 

/ptr


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## Ravndal (Jun 8, 2012)

ptr said it!

And i miss your old avatar. I liked the conductor better!


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## Ukko (Jun 4, 2010)

Amazing. I end up agreeing with these other folks. I base my choice, though, on the fairly unreasonable assumption that the judges are widely knowledgeable, flexible, and have some understanding of the accompanist's task. And there is another wildcard too; how quickly you understand the singer depends to at least some degree on the singer.

The point has been made that the Schumann is, on the surface, the least likely choice (maybe for the above reasons), and that this likelihood should make it the freshest in the judges' ears.

This choice amounts to a roll of the dice. I'm glad I have nothing riding on it.

Good luck in your choice, and in the judges, Carter. The piano playing is the part you can control, and there you just need the skills you have.

[BTW, I like your avatar. It looks like that final adjustment made before ringing the doorbell and meeting you date's parents.]


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## Turangalîla (Jan 29, 2012)

Thank you everyone. I do agree that of course the Schumann would stand out the most—a very helpful thing. It is not good to play repertoire that has already been over-hackneyed by other contestants. I will email a couple of teachers at the conservatory to get a final idea before I order the Schumann score.

Oh, and what do you suggest recording-wise? Wunderlich's recording, of course, is famous, as is Fischer-Dieskau's. I also like Souzay's version (with Cortot at the piano). Bostridge is good, but a bit too light at times, I think.

PS I will probably change my avatar in the next few days, but the current one might return later!


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## moody (Nov 5, 2011)

CarterJohnsonPiano said:


> Thank you everyone. I do agree that of course the Schumann would stand out the most-a very helpful thing. It is not good to play repertoire that has already been over-hackneyed by other contestants. I will email a couple of teachers at the conservatory to get a final idea before I order the Schumann score.
> 
> Oh, and what do you suggest recording-wise? Wunderlich's recording, of course, is famous, as is Fischer-Dieskau's. I also like Souzay's version (with Cortot at the piano). Bostridge is good, but a bit too light at times, I think.
> 
> PS I will probably change my avatar in the next few days, but the current one might return later!


One of the greatest versions is Charles Panzera's coupled with Faure's "La Bonne Chanson" ,the accompanists are Alfred Cortot and Magdeleine Panzera-Baillot,these were first reissued in the Great Recordings of the Century series by EMI, altho' these are recordings from the 30's they are excellent.
I do not consider that Wunderlich was quite ready for lieder at the highest level when he was taken from us---he certainly would have been .
Hermann Prey with Karl Engel is another great performance as is Lotte Lehmann's 1941 recording along with "Frauenliebe und Leben"accompanist Bruno Walter.
Souzay has always been my preference in Schubert or Schumann rather than DFD who gilds the lilly too much.
You do of course need several versions of Dichterliebe eventually.


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## Ukko (Jun 4, 2010)

CarterJohnsonPiano said:


> Thank you everyone. I do agree that of course the Schumann would stand out the most-a very helpful thing. It is not good to play repertoire that has already been over-hackneyed by other contestants. I will email a couple of teachers at the conservatory to get a final idea before I order the Schumann score.
> 
> Oh, and what do you suggest recording-wise? Wunderlich's recording, of course, is famous, as is Fischer-Dieskau's. I also like Souzay's version (with Cortot at the piano). Bostridge is good, but a bit too light at times, I think.
> 
> PS I will probably change my avatar in the next few days, but the current one might return later!


Maybe see if you can find Gerald Moore with two singers with contrasting styles?


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## PetrB (Feb 28, 2012)

Certifying from experience, with assumed equal musicianship, there is none other than accompanying a singer. There is more innate "support" while still carrying the musical framework. As stated, the jurors will not miss the greater subtlety required / delivered, nor will they rate it lesser for the fact it is a near faceless and anonymous task. The other part of accompanying singers I more than enjoy is the near shameless right (without at all distorting the delivery) to color the piano part in a way which would be unacceptable in any piano solo or concerto... one gets to be anything from a hurdy-gurdy to chamber group to orchestra 

Any accompanying in a way is a "quiet virtusosity," and I think in accompanying song is where some of the greatest quiet virtuosity is to be had.


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## Ravndal (Jun 8, 2012)

Hilltroll72 said:


> Amazing. I end up agreeing with these other folks. I base my choice, though, on the fairly unreasonable assumption that the judges are widely knowledgeable, flexible, and have some understanding of the accompanist's task. And there is another wildcard too; how quickly you understand the singer depends to at least some degree on the singer.
> 
> The point has been made that the Schumann is, on the surface, the least likely choice (maybe for the above reasons), and that this likelihood should make it the freshest in the judges' ears.
> 
> ...


I ment ptr's avatar. CJP's avatar looks great.


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## Turangalîla (Jan 29, 2012)

Alright...Dichterliebe wins!

Thanks, PetrB, for your most recent comment—highly insightful.

And moody, I will look into some of the recordings...because I have decided upon the Schumann I would like to get at least two or three. I am a big fan of Hermann Prey, but I found his performance of it on YouTube somewhat lacklustre (granted, it was with a different pianist and probably is nothing like the recording). Ich grolle Nicht, in particular, was very bizzare.

Thanks everyone for your helpful comments!


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## moody (Nov 5, 2011)

CarterJohnsonPiano said:


> Alright...Dichterliebe wins!
> 
> Thanks, PetrB, for your most recent comment-highly insightful.
> 
> ...


The Prey version that I mentioned is from 1962 and all OK. 
But I have noticed that I missed out an important and wonderful recording ,that of Aksel Schiotz the great Danish tenor--that's with Gerald Moore.


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## ptr (Jan 22, 2013)

Ravndal said:


> I ment ptr's avatar. CJP's avatar looks great.


What? Is there no love for the greatest British Pianist of the previous century? 

Good choice CJ!

I second Mr Moody's suggestion of Aksel Schiøtz!

/ptr


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