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I think I’ve cracked a little of the code that makes low intermediate pieces suddenly so difficult for someone who has confidently finished a beginning harp book: it is a combination of reading skills and fingerings.
Jerry Serviente, of the Somerset Harp festival, has organized a “Lever Harp Teacher’s Symposium” to teach the teachers mentioned in your post.
Is it at the Paris Conservatory where a student works on only one piece for the duration of a year?
Teachers elsewhere may be overly sensative to spending too much time on a piece once it is “learned,” as in, well, the student got through it without any big mistakes, so on to the next.
When I adopted my first standard poodle through poodle rescue, they added one question to my application: “So you want a musical poodle?”
By comparing different recordings (i.e 4 different Tosca’s), you learn not how to play a particular rubato, but rather where one may exist – in other words, where you need to prepare flexibility (an oxymoron if I ever heard one!).
Regarding the thought that playing along with a recording could some how be “cheating”:
Any way that you can prepare a part (or piece) is fair game – unlike a math exam, showing your work is not part of a performance.
I introduced
The context of the article I cited at the beginning of this thread was written to guide people in business and finance towards a model of success based on the practice habits of musicians and athletes.
For musicians, reaching an audience is more often than not a component of the experience.
I think that there is one more facet to this arguement, and that is when people meet with success without a tremendous amount of talent or hard work.
I like Carl’s Schumann quote, but if a genius just stands on top of that mountain, laughing arrogantly rather than continuing to challenge himself, the world will tire of his gifts.
I have had a friend since college who is a certifiable genius, and has focused his gifts on composition.
