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Dear Greg,
First off, thank you for what you are doing with your talent. We need to break the Victorian paradigms! On to my question: I have just turned 16 and am thinking about colleges. I would love to attend a conservatory, but am worried that it will be all piano all the time and if down the road piano doesn't work out for me, I will have nothing to fall back on. I also have the question of repertoire choices, specifically the Classical sonata. Is the Appassionata too cliched? I absolutely love the piece and think I could give a very good performance of it, but I am worried that it is so well known that everybody has a definitive idea of how it should be played, and if I play it differently, they will not like it. What did you play for your audition to Juiliard? What about other people? I know a Prelude and Fugue, Chopin's first Ballade, and his Etude Op. 25 No. 12. For a modern piece, I think I will do the Bartok sonata. Do you have any ideas on these? Any help would be much appreciated. Thank you!!!
- Jon B.
Dear Jon,
When it comes to careers, I really can't tell you what to do! One of the many great things about life is that you can often change your mind. So often we feel like we are locked in, but really, we have the ability to start fresh whenever we want. I've seen a number of inspiring forty-year-olds go back to school to pursue a different avenue in life; a friend of mine did her undergrad and master's degrees at Juilliard and now she's in dental school; Aspen Music Festival accepts adult piano students. You're in control.
You also have the power to make your college experience amazing, no matter what school you attend. Alternatively, you can find ways to waste your time at any of the most renowned institutions in America. If you want a well-rounded education, you can get that, whether you're at Juilliard or New York University. Too often I see people complaining rather than using their energy in positive and useful ways.
One word of caution: don't go into music if you want to be a "concert pianist." Even if you've got mad skills, the chances of sustaining a career are next to impossible. Instead, go to college with the dream of playing the piano for the rest of your life! There are loads of uses for pianists in the job market, and if you really love playing the piano and making music, then these can be extraordinarily fulfilling jobs. Who knows, you could become really famous and play solo recitals in Carnegie Hall or you could become an influential piano teacher; in either case, you'll be a satisfied musician. As long as your happiness doesn't rely on fame, there are loads of musically satisfying jobs you could pursue as a pianist.
As for your audition repertoire, play whatever it is you want to play (in other words, play pieces that reflect you as a musician), and when your audition rolls around, play well. That's all that matters. My undergrad audition program consisted of the following pieces: Bach's Prelude and Fugue in A minor from WTC I, Beethoven's "Waldstein" Sonata, Mendelssohn's Variations sérieuses, Liszt's Transcendental Etude No. 4 -- "Mazeppa", and Prokofiev's Third Piano Sonata. I'm not sure whether this was the greatest audition program, but I loved performing all of the pieces and I played them well.
Best wishes to you as you prepare for your auditions!
- Greg
Dear Greg,
Hi, I am a 15 year old who isn't extremely advanced in piano (right now I am working on a toccata by Debussy, an etude by Mozkowski, and a Prelude by Chopin) but I REALLY enjoy the piano and love putting much expression into my pieces. Last summer I attended the Interlochen Arts Camp, I was accepted into the interlochen arts boarding high school, and this summer I have been accepted into the Eastman School of Music's high school Music Horizons program. I was wondering, how likely is it for me to be a concert pianist? Also, how much money does a concert pianist typically make?
- Rachel
Dear Rachel,
To answer your first question, I have copied and pasted my response to a previous question:
Please peruse the "Piano as a career" archives. I've already responded to quite a few questions about the demands, difficulties, and joys of playing the piano as a career, and my responses are archived there. To summarize: it is extremely difficult to make a living as a "concert pianist," even for the best pianists. Many Juilliard graduates I know have quit their instruments and turned their attention to finding alternative means of income. I fully believe in the realization of dreams, but some dreams take a ridiculous amount of work (especially in this case); you have to want it so bad that you are willing to make enormous sacrifices in other areas of your life.... like your day job... like time spent with your friends... like sleep... The rewards can be awesome, but you have to decide if the cost is worth it to you.
However, and I'm repeating myself here, there are other ways to earn money as a pianist that don't involve performing on concert stages. None of them are easy, all of them are important, and all of them can be extremely rewarding. Please reference the "Piano as a career" archives for more detailed explanations.
If you truly love playing the piano, if you enjoy creating music, if you are fascinated by the piano repertoire... you could always consider the greatest musical vocation of them all: you could be an amateur. By definition, amateurs "love" what they do. Amateurs keep music alive in homes around the world. More so than many professionals, amateurs are truly in touch with the joys of music, and their joy is contagious. Amateurs help to raise the musical literacy around the world. Amateurs deserve enormous respect, and America, in particular, is in need of many more amateur pianists.
To answer your second question: there is no typical income for a concert pianist. A pianist's annual salary entirely depends on the number of concerts he or she performs. It is a highly irregular, unpredictable, insecure, and wonderful job. :-)
- Greg
Dear Greg,
I stopped playing the piano when I pass my ABRSM Grade 5 piano practical exam in 2000. Discouragements and disappointments leaded me to give up achieving my dream of being a professional pianist. However, I dunno how, not too long ago, I managed to have the desire to play the piano and dream to be a pianist again. I'm now 24. Is it too late for me to continue practice playing the piano to achieve my dream? If I may still have the opportunity to be a pianist, how can I achieve this dream? Do I need to possess national playing standard and have a degree in piano performace? P.S. Your true and most honest opinion will be very much helpful. Thank you very much.
- andrea
Dear Andrea,
Please peruse the "Piano as a career" archives. I've already responded to quite a few questions about the demands, difficulties, and joys of playing the piano as a career, and my responses are archived there. To summarize: it is extremely difficult to make a living as a "concert pianist," even for the best pianists. Many Juilliard graduates I know have quit their instruments and turned their attention to finding alternative means of income. I fully believe in the realization of dreams, but some dreams take a ridiculous amount of work (especially in this case); you have to want it so bad that you are willing to make enormous sacrifices in other areas of your life.... like your day job... like time spent with your friends... like sleep... The rewards can be awesome, but you have to decide if the cost is worth it to you.
However, and I'm repeating myself here, there are other ways to earn money as a pianist that don't involve performing on concert stages. None of them are easy, all of them are important, and all of them can be extremely rewarding. Please reference the "Piano as a career" archives for more detailed explanations.
If you truly love playing the piano, if you enjoy creating music, if you are fascinated by the piano repertoire... you could always consider the greatest musical vocation of them all: you could be an amateur. By definition, amateurs "love" what they do. Amateurs keep music alive in homes around the world. More so than many professionals, amateurs are truly in touch with the joys of music, and their joy is contagious. Amateurs help to raise the musical literacy around the world. Amateurs deserve enormous respect, and America, in particular, is in need of many more amateur pianists.
Good luck!
- Greg
Dear Greg,
I am 20 and a pre-medical student at a State University. Yet, I am unhappy because I wish to pursue music. I guess you can call it the "Berlioz Syndrome". Majoring in Piano or Music is bad because the State University that I attend does not have any good piano professors. I am wondering - do I continue to do pre-med and be the normal person with a good salary or do I go do something that I am passionate about even when I am old? What if I have a small repertoire that includes mostly Bach, Mozart, Beethoven and Chopin? Do you think that music is only pursuable for those who study it professionally at the age of 15 or younger and for those who win competitions in high school and college? I really dislike competitions, and I didn't compete at all in my younger years. I've asked this question (making music my life) to my piano teacher (who is very good-she is a moscow conservatory grad) and she told me that I certainly have the musicality and the emotions and some of the techniques down. I just need to practice practice and practice. Any advice?
- Anonymous
Dear Anonymous,
I certainly do not want to be responsible for a decision that you regret later in life, but I will cautiously offer a few random thoughts on the subject:
Good luck and best wishes!
- Greg
Dear Greg,
I need an honest response. I'm 18 and I've been studying piano for a year and a half. My teacher studied at the Moscow Conservatory of music in Russia under Erina Smorodinova who was a student of Emil Gilels and he is incredibly talented. My first piece was a 3-movement sonatina by Clementi and I learned that in 2 months from scratch (No prior knowledge of piano or music at ALL) then I learned prelude No. 15 (Raindrop) by Chopin and mastered that within 3 months. I play both well and with much emotion. I am currently learning the Rachmaninoff Prelude in C sharp minor and I already can play two pages within a couple days. My question is what are the odds that I could make it as a concert pianist and under what circumstances. Keep in mind that my teacher continually drills exercises and other technical practices at the piano so that I am not simply attempting pieces that I have no hope of playing.
- John
Dear John,
I definitely recommend that you read what I wrote to "Anonymous" in my answer above. I started the piano when I was eight years old, and believe it or not, that was pretty old compared to my Juilliard classmates! Learning to play the piano is not unlike learning a foreign language - it's a lot easier when you are young. And similar to learning a language, its a skill that takes years upon years to master. By the time I was 18, I had spent 10 years practicing 2 - 6 hours every day, and I still had a lot to learn (and I still do!); when I went to college, I practiced even more.
The honest answer: it's very unlikely that you'll "make it" as a concert pianist, just as it is unlikely that Juilliard graduates will make it professionally as concert pianists. It's possible, but very, very unlikely. You have to love it enough to withstand setback after setback. That said, pianists have so many different roles in society other than that of a "concert pianist," roles that are important and deserve your consideration: music teacher, educational outreach performer, accompanist, composer, arranger, music series director, artistic director, researcher, choir conductor and organizer, music therapist, chamber musician, administrator, or my favorite: amateur. It's those pianists that are a part of society - pianists who aren't estranged on a stage - who really have the opportunity to make a profound difference in an individual's life in a personal way. If you really do love music, you will find a way to share it with people, regardless of your ability.
Best wishes!
- Greg
Dear Greg,
I'm very confused. I just turned 11. I have been playing since I was 3 and studied under the Suzuki method with one teacher until I was 8. I had finished up the fourth volume. Most of the pieces in Volume 3 & 4 are Sonatinas by Clementi, Kuhlau, Mozart, and Beethoven. My teacher moved so my dad hired another teacher. My dad spends most of my practice time with me. I began to learn Beethoven's Sonata Op2 No1. I love this piece but it took me eight months to lean the first three movements. He has me working on Hanon, scales, Czerny Op599, for technique. I am also playing the Inventions and Sinfonias along with some romantic pieces from Denes Agay's book. My current teacher wants me to put the Beethoven Sonata aside and start learning all the Clementi Sonatas because he believes that physically I am not ready for these pieces. He also wants me to avoid playing Chopin for now which I really love listening to. My dad spoke with the former teacher of mine and he said that if you want to seriously compete in the major competitions, which I do, I have to start learning the Sonatas by Beethoven, Mozart and Chopin works like the Preludes and Etudes now. He disagrees with my current teacher because he believes that the teacher may not have the patience or knowledge of how to teach a younger student advanced pieces. My current teacher is very detailed and we spend vast amounts of time on Clementi alone and expects to spend two years on these pieces. I'll be 13 then. He believes that Clementi works are a precursor to Beethoven works. What concerns me is that when I see the bios on winners that win the major competitions most of them were playing concertos among other advanced pieces when they were 9. What are your thoughts about the direction I should proceed with?
- Celina
Dear Celina,
I responded to a similar question on this "Ask Greg" page, and I'm going to answer yours in the same manner: listen to your teacher. Your teacher, especially in this case, seems to know what he is doing.
You've certainly hit upon one of my pet peeves: students trying to tackle pieces beyond their skill level. It is dangerous physically, pianistically, and musically. If you rush through advanced repertoire, it is very likely that you will miss opportunities to explore your musicality or your personal approach to the piano. It is also likely that you will develop some bad, bad habits in your technique - habits that will follow and plague you for the rest of your life.
I remember being just as confused as you; I heard about the teenage prodigies who brought a new concerto in for their lessons every week, and I thought I had to do the same thing. Instead, my teacher taught me patience. She was extremely detailed in her approach to the music, and that sense for detail opened my ears to a new world of precision and craftsmanship at a very early age. It was invaluable training, in my opinion.
There is no hurry! My parents wanted nothing more than for their three sons to be "well-rounded," happy children, and I believe it made all the difference. I certainly wouldn't be the pianist I am today without having spent all that time outside building tree forts, participating in the science clubs, and visiting the public library on a weekly basis. I know plenty of young pianists who spend eight hours a day practicing, but I think it is completely unnecessary. There are SO many child prodigies out there, and although eight hours of daily practice may give you early fame and a host of compliments, it will do very little to provide any sort of career later on.
Build a firm foundation as a pianist now, and later you will be able to pursue anything you want. Truly elegant, insightful, and beautiful playing is so rare in people your age. Not that it really means anything, but in high school, I won competition after competition playing Mozart and Bach, not Rachmaninoff and Liszt like my competitors. (That is not a slam to Rachmaninoff and Liszt - I love their music - I truly do. It just shows that Mozart and Bach played well can be more impressive than more technically difficult music.) And the Clementi sonatas! Some of them are masterpieces! You shouldn't be complaining! How lucky you are to be able to play them at such an early age.
And now that I've already said more than enough, I feel I must take a moment to state my passionate thoughts on the matter of competitions. Be wary. Please don't turn competitions into your driving force, into your reason to be. Competitions can be so dangerous.
Competitions train audiences and pianists to listen critically. I found that after spending too long in the competition circuit, I lost my ability to listen and enjoy. When I was eight, I listened to a Mozart concerto for the first time and I nearly squealed with delight. It was bliss. After attending competition after competition, I found that I couldn't listen to a Mozart concerto without picking the pianist apart; I listened for what was wrong rather than what was right and beautiful. And even worse, I found myself continually making comparisons; "this is better than that!," "I liked his interpretation better than hers," etc.. Comparison is healthy to a certain extent, but it becomes detrimental when we lose the ability to listen with an open mind or the ability to simply enjoy what each person has to offer. (Please see the latest Anderson & Roe music video for a satire on the subject of critical listening!) I'm confident that I'm not the only music listener who has been jaded by the prevalence of competitions in our culture.
Not only do competitions transform the way we listen, but they influence the repertoire chosen by pianists for performance. Even if the competition repertoire is "free choice," only a select portion of the piano repertoire is appropriate. Schumann's Davidsbündlertänze is a great work but rarely programmed in competitions - it's too long and it isn't flashy enough. The music of Satie is completely inappropriate on a competition program - it's too simple and esoteric, and it can be very polarizing with the judges. Grieg's lyric pieces aren't serious enough, Handel isn't as good as Bach, too many transcriptions are bad, too many unknown pieces intimidate the judges, and Liszt's Hungarian Rhapsodies are deemed "cheap" music by some. And goodness, if your specialty is New Music and not music of the Classical era, too bad, because you won't satisfy the judges desire to select a well-rounded pianist. And goodness, if you like to compose yourself, don't try to program your own compositions in competition programs.
Then, there is the whole element of winners and losers. In most major competitions I've seen, amazing pianists (truly amazing) are cut in the first round. It seems that creative and personal performers do not do well. They may win over some of the jury members, but they are bound to offend others. Competitions are kind to the consistent and predictable - very kind - $50,000 kind - lots of engagements and press kind. But interestingly enough, very few who win secure sturdy concert careers. Audiences don't return to hear these winners again, and concert presenters don't reengage them. Who won the last Queen Elizabeth? the last Tchaikovsky? the last Leeds? I forgot.
I passionately believe that competitions have done significant damage to the world of classical music. It has transformed music from an art to a sport.
Instead of playing the piano to win competitions, I offer an alternative: play music to change the world, to discover yourself, to explore humanity, and to bring people together. Play music that is relevant to you and find ways to make it relevant to others.
Happy practicing!
- Greg
