RESEARCH PRESENTATION

WHERE DOES THE PIANIST STAND IN

RELATION TO THE COMPOSER?

Philippe Lamouris
Master in Music Piano and Composition

Introduction
Where does the pianist stand in relation to the composer?
-Who is more important?
-Is it 50/50?
-Should the performer always respect every note and sign in a score,
and use the recordings made by the composer himself as an important
source?

Introduction
Why is research important? Why do we need it?

Finding answers to questions and difficulties

Inspiration
To get new ideas, learn from other artists

1st Recital
J. S. Bach: Toccata in d minor (BWV 913)
The choice between organ and harpsichord, Gould and Richter
F. Schubert: Sonata in G major (D.894)
The 1 hour sonata

2nd Recital
L. van Beethoven: Sonata in e minor (Op. 90)
Playing a string quartet

A. Scriabin: 5 preludes (Op. 74), 4 Pices (Op. 56)

Different characters

C. Debussy: Reflets dans leau, Bruyres

The teacher at the piano

B. Britten: Night Piece

The Leeds competition

Ph. Lamouris: Image-Homage

Image-Homage

Concerto

A. Glazunov: Piano concerto in b minor (Op. 100)

The score from Russia

Research phase
The score
Being able properly to read and grasp the written text of a
composition ranks among the performers supreme skills
(A. Brendel)
Recordings (historical)
Tradition of piano playing (in different musical styles)
Books and articles

The Leeds competition (Britten)

Score + recordings (no recording of composer himself)
Written in 1963 as compulsory piece for the Leeds piano

competition.

Manuscript and sketches available (online)

Link to Bartok: Out of doors
Soundscape
Night-piece is obviously composed by someone who understands
the sonorities and tonal resources of the modern piano

The Leeds competition (Britten)

The Leeds competition (Britten)

The instruction vibrato reflects a seemingly eccentric view of Brittens

that this effect can indeed be achieved on the piano: it is a sign for the
performer to complete the instruction with a gesture. The vibrato is
the highpoint of intensity in the recapitulation, if not in the piece. It is
as if a creature an anthropomorphic human has been trapped
or wounded; it quivers before emitting heart-rending plangent
sobs until with a final shudder it comes to rest on another
fermata marked lunga.
(Christopher Wintle, All the Gods: Benjamin Brittens Night-piece in context

(London, Plumbago, 2006))

Different characters (Scriabin)

His new harmonies and strange sonorities are one of a

kind. (Igor Stravinsky on Scriabin)

Ambiguous tonality what does this mean for the
performer?
Tonal relations disappear (augmented and diminished
chords give new possibilities)

Different characters (Scriabin)

Prelude nr. 4 (Op. 74)

Different characters (Scriabin)

Despite Scriabins small hands (he could barely stretch a

ninth) he became a noted pianist.

How and when can you play broken chords?

The performing style of Alexander Scriabin by Lelkin

(contains analysis of recordings made by the composer

himself)

Recordings made by Sofronitzky, Neuhaus, Feinberg and

Rachmaninoff.

Different characters (Scriabin)

Different characters (Scriabin)

Image-Homage (Lamouris)
Composed in February 2015
I didnt want to think about creating something new,

something nobody has ever written before.

Concept: To compose a piece I can play on my recital in
June 2015
Link between improvising and composing
Influences: Scriabin, Debussy, Britten and even Beethoven and

Schubert

Aim: NOT to create an actual collage or homage, but to

unconsciously pour my ideas into a composition

Image-Homage (Lamouris)
Composing time: approx. 2 weeks
Then I gave the score to the performer
Consciously studying and playing what the composer has written:
notes, dynamics, signs, chords, etc.
The composer was satisfied with the piece, the pianist

had some other ideas.

So what did I do?
Change the things I didnt like as a performer and tried to perfect

the piece. Something you arent supposed to do as a pianist.

Image-Homage (Lamouris)
How should I play my own piece?
Are my choices as a performer the best choices? Is somebody who
can play it better or differently and will I like it?
When I compose I dont compose the piece for myself. I

do not see myself as the only or best performer for the

piece.
I dont have yet the satisfaction when I play my own
pieces.
What I do have is: complete knowledge and story of every
single element of the piece. The meaning (my meaning) of
every note and passage.

Conclusion

This process gave my another perspective on the

performance of the pieces the great masters wrote.

This process helped me grow as a composer and as a

pianist

Conclusion
What is your personal relation to the composer and his

music?
Trying to find the balance between research and

performance
Be able to use research in performance
Find solutions and answers
Find QUESTIONS!

QUESTIONS?

Philippe Lamouris

Email: phlamouris@gmail.com