<<  -- 5 --  Bill Newman    PERFORMING PRACTICES

'The constructive aspect in Schumann "just happens". When I started playing Kreisleriana my first thoughts were: "am I doing anything?", and feeling subconsciously outside of myself. Later, at more ideal moments I realised I was the work's mediator with a certain cool detachment, yet possessing an incredible warmth. The same can be true of Bach with his contrapuntal writing and exact voicings.'

Working on Bach's French Suite No 5 led to thoughts about the older harpsichord and clavichord versus the grand piano. 'Without going widely into the questions of which best suits either, one should be aware of performance practices like the techniques of harpsichordists to produce shadings. Many pianists don't possess that sort of knowledge.'

At present, solo piano recitals and chamber events are equally balanced. 'This is something I wish to maintain with musicians who posess the same fortes as I employ on my own account -- respect for that composer, his music, and a good measure of thought, analysis and awareness. Whatever other musicians come up with, it is always justifiable, in a close examination of the music itself and their ways of getting to the truth. I don't like people who ignore that, where it becomes their vehicle of presenting themselves to the audience. That irritates me, but we have to do it sometimes to live. The sincere ones are rare and hard to find. They are not flowing out of the music colleges!'