[Hornlist] Stage Fright Topic Redux
The June 2004 issue of the Instrumentalist has an article about stage fright on page 24 that you may find useful for your students or others. The book's title should be: Stage Fright in Music Performance and Its Relationship to the Unconscious NOT 'Unconsciousness' as listed in the article although Cabbage would probably think that this would be funny. Mike Goode www.trumpetworkspress.com ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] stage fright
Squeezing the "RING" means something different, David. It would mean "the Ring without words". I played a version which last a whole concert evening, but there is also the other version by Lorin Maazel, lasting just the length of one CD. When I mentioned the "ring muscles" I meant the one on the rear end not at the front end. Cheers Hans = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Robert Dickow Sent: Thursday, April 29, 2004 1:16 AM To: The Horn List Subject: Re: [Hornlist] stage fright >From: "Hans Pizka" <[EMAIL PROTECTED]> >So I played the Munich audition, squeezing >all ring muscles - you understand ? Hans, With all the Long Calls you have accomplished, I can certainly understand what you mean by 'squeezing all ring muscles'. Bob Dickow University of Idaho ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] stage fright
>From: "Hans Pizka" <[EMAIL PROTECTED]> >So I played the Munich audition, squeezing >all ring muscles - you understand ? Hans, With all the Long Calls you have accomplished, I can certainly understand what you mean by 'squeezing all ring muscles'. Bob Dickow University of Idaho ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Stage fright
Somertimes, my friend, the dummkopfs decide the cast of singer or command the orchestra, but also some players (horn players & oboes included) play so "sauer" in the pit, that even the kraut (cabbage) becomes sauer (sour). Sometimes the "commander in chief" (conductor) is also the reason, why the horn players become sauer (sour = in German we understand it as getting bored !)) in the pit. We had a Rosenkavalier here during the Opera Festival 1984. Carlos Kleiber conducted. At the end of act no.2 a grumbling noise began & crescendoed until we could not hear the oxen (baron Ochs von Lerchenau) any more. What had happen ? Even it sounded like a quake, it was "hailstones", large like tennis balls. Damage in town : some 4 billion USD. All cars were heavily dented. Mine was just 3 weeks old. Fortunately covered by insurance as hailstones AND storm worked together. There is another kind of stage fright which you probably haven't experienced in Munich, Hans. As I was playing Cosi fan tutte recently, I noticed the hall shaking for about five seconds during the first act finale. The second hornist said it was another earthquake, but I knew that it wasn't tectonic, but a genuine case of stage fright. This was a hall that had never been used for opera before, so quite naturally the stage was inexperienced - I don't think it was health problems - and so the stage suffered a brief bout of nervous shaking. No doubt it calmed itself down by noticing the dummkopfs in the cast and the sauer kraut in the pit. Gotta go, Cabbage ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Stage fright
Hans P let us know about different kinds of stage fright: We have also to consider other sources for stage fright, as are family & health problems...So careful mild medication might help.. There is also a kind of stage fright, which is caused by the colleagues, who just wait for your "accident", - and demonstrate this "expectation" openly. Medication will not help here, but an "elephant skin" does.. There is another kind of stage fright which you probably haven't experienced in Munich, Hans. As I was playing Cosi fan tutte recently, I noticed the hall shaking for about five seconds during the first act finale. The second hornist said it was another earthquake, but I knew that it wasn't tectonic, but a genuine case of stage fright. This was a hall that had never been used for opera before, so quite naturally the stage was inexperienced - I don't think it was health problems - and so the stage suffered a brief bout of nervous shaking. No doubt it calmed itself down by noticing the dummkopfs in the cast and the sauer kraut in the pit. Gotta go, Cabbage ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Stage Fright Thread
A couple of decades ago, Lowell Greer gave a free Master Class at the local University just before his performance of the Strauss 1 with the Boise Phil. It was timely for me, as it came just prior to my first big recital. Mr. Greer told me I knew the music well, but suggested some things, such as changing the way I walked on stage, to appear more "in charge" and confident. He also recommended the Stanislavski book, "An Actor Prepares," which I still refer to now and then. Perhaps others interested in this topic will find it helpful. And much belated, but warm thanks to Mr. Greer. _ Is your PC infected? Get a FREE online computer virus scan from McAfee® Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] stage fright
About the stage fright: One has to know, why stage fright does come. Nervousity is not stage fright. Excitement is not stage fright. But over-nervousity and over-excitement lead to stage fright. Inadequate preparation leads to stage fright, - no wonder. Adequate preparation, but missing fundamental training & knowledge, will lead to stage fright. Alcohol & drugs do seemingly reduce stage fright, but influence the performance as to get out of control easily, which will lead to stage fright again. A devils circle. Yes, if you take drugs as sedatives, you will notice that your energy will often be converted into body heat, thus influencing the pitch negatively, but being doped already, you will not notice the shifted pitch. If you listen to the recording of the performance after the concert (being doped, you will not listen even to your own performance !), you will collapse & suffering from more stage fright the next time, - taking stronger drugs etc. - a never ending story. Believe me, I tried this stuff too in distant past. But when I auditioned for the Munich job (1964), I forgot the pills, so had to audition without the pills. In Duesseldorf I got the job, without taking any pills, - I even had none. So I played the Munich audition, squeezing all ring muscles - you understand ? - and have not touched any sedative drugs except when I suffered a heat stroke (my 2nd) five years ago, so doctor gave me the Beta blocker to reduce blood pressure to normal level. But I was on ill leave. I noticed the bad effect of Beta blockers with one of our conductors, who told me he had to take them for health reason. I also noticed the bad effect of alcohol as a sedative against stage fright, taken by several conductors. I know several conductor who come even to rehearsals after some glasses of liquor. You cannot discuss anything with drunk conductors. It really does not help, even it seems so. Alcohol & drugs seem to push away the fright, but they also push away the brain control. If you are clean of alcohol & drugs, you are able to analyze the things & situations. If you are well prepared, including your fundamental training, - and you get a bit nervous because of some over excitement, it is naturally, very naturally. But you will be able to handle the situation. If you still have difficulties with high entrances, because you cannot hear the particular pitch or interval, you will suffer stage fright off course. If you are still too shy to produce yourself in front of a big crowd (concert hall), you will need more experience in smaller concerts. Otherwise you will still suffer stage fright. If you play fast pieces & you still have fingering difficulties, if you play some transpositions & you still have to write some note names on top of the notes, you will suffer from stage fright. If you play solo pieces exceeding your abilities, - just to impress others because of your ambitiousness or because your teacher or your parents want to stay in glory - (they often close ears & eyes for other soloists & are not able or not interested to compare objectively !) - , you must not wonder about stage fright. Less but better, that's the only choice here. The list can be endless. If you are not able to solve panic situations at the spot, you will suffer stage fright. But you can get used to stage fright. This is a second routine besides the routine of playing. Two examples from my experience: When I was 15, I played my first K.495 with a professional orchestra - just a week before Dennis Brains fatal accident in 1957. No problem at all. When I was 18 I played K.447 in my home town, but committed one single crack in the cadenza. You know what ? I though I had to throw away my horn, but kept the grip on myself & continued without another "accident". I remained so, seeing a crack as a mere "accident" not as an act of "failure" or an expression of inadequate preparation. A mere accident. This means NOT TO OVER VALUATE ONESELF. Remaining human, not thinking about oneself as a genius. There is no reason to panic if you can live with small accidents here & there. We are not machines. We are humans ! The other experience: Doing business in Beijing 1994, I received a call to jump into six performances of Tschaik. No.6 with Sir Georg Solti & Vienna Phil in Tokyo. As we had a strong party then with the Chinese engineers, we drunk a lot of Mao Thai (55% prrof) and my head was still full of "clouds" when I rush arrived at the Suntory Hall in Tokyo. The rehearsal: You know, there is just one piano entrance with f#2 after few bars rest. I became scared to death the two bars before the entrance, really scared to death, like having a King Cobra in just one meter distance in front of me. Instantly, I switched on my "emergency" program - "Sauerkraut - Idiot - Dummkopf -", broke the block in the tongue, just played it. No mistake, no one single mistake in all six performances. This was my most terrible stage fright experience. I had not
Re: [Hornlist] Stage fright
Sure you did! Shel - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Saturday, April 24, 2004 12:16 PM Subject: [Hornlist] Stage fright > Hans P wrote > > Stage fright & stage fright are not always the same. > > ** > I have always made sure that my students > understand this distinction. > > Gotta go, > Cabbage > ___ > post: [EMAIL PROTECTED] > set your options at http://music.memphis.edu/mailman/options/horn/skirshner%40ameritech.net > ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Stage fright
Hans P wrote Stage fright & stage fright are not always the same. ** I have always made sure that my students understand this distinction. Gotta go, Cabbage ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Stage fright
Mike G suggested this book: Stage Fright in Music Performance and Its Relationship to the Unconscious ** Though I have occasionally suffered from a little stage fright, I have never been so badly affected that it made me unconscious. Nevertheless, if you have this problem, then this is the book for you. Gotta go, Cabbage ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
