André Teixeira

The belief that imagination’s engagement and emotional connection with what I play enhance my performance propelled me to do this research. However, these are not systematically integrated in instrumental practice. Thus, it seemed to me that the twentieth century theatre director Konstantin Stanislavski’s ‘system’ would be the perfect basis for such a quest. The starting point were acting techniques from his first book "An Actor Prepares": the "given circumstances", imagination-related ("supposed circumstances", “inner visions”, "magic if”) – and emotion-related ("emotion memory", "sensation memory", "surroundings"). Partly supported by existing literature, these techniques were linked with the instrumentalists' work and tested out in a self-case study through three interventions. The process consisted of making video recordings of the 'before' and the actual interventions, which were guided by the filling out of intervention forms designed by me. The techniques were applied on three distinct piano passages of Richard Strauss’ melodrama for narrator and piano "Enoch Arden". Furthermore, I did interventions’ reports to provide more palpable insights about the experience, namely the effects of each technique on the performer. The outcome was evaluated through a questionnaire filled in by a group of listeners, comprising musicians and non-musicians, and by me. The responses generally show that the techniques were effective. However, the recordings were perceived as very similar. Also, the listeners’ perception sometimes differed from mine. Nevertheless, the reports allow us to conclude that these techniques might affect the performer’s focus, creativity, self-confidence, knowledge about the works and also self-knowledge.

Interventions’ reports

Given circumstances

Some elements were already part of my way of practicing before the intervention, for instance understanding or analysis of harmony, metre, etc. However, filling out in a scheme with all these parameters included allows me to have a bigger picture and be more aware of those elements all the time.

Process of applying the technique:

- Responding the questions, general ones off the piano, specific on the piano and through analysis of the score.

- Recording session was the practicing session to apply the given circumstances’ knowledge.

- I created then an ‘inner film’ of what to think about, which was basically a selection for every moment of some information I filled in in the form. It created: an empathic/sympathetic feeling in relation to the character's emotions and/or situations; an ‘inner vision’; an order for an action, like showing some musical element because it effects more analogously to the character's emotions. So, it naturally triggers logically-based imagination, mental images, and the sensation and emotion memories.

Note: the given circumstances can help creating the extra-musical imagery around the music, but in other cases, like langsam, because the music can be interpreted as Annie’s inner voice (her consciousness) rather than a narration of events, it relates with music’s emotional properties so much that we can connect both through analysis: 3rd chord is the most tense (like a thought-string growing thicker) and it keeps the tension even in the resolution because it proceeds with a melodic diminished 5th and because of the slur; then the A natural going to A flat on the bass is just a slight modification of the chord, so there’s not really a new tension to add to the music (after Annie’s last sigh, last hope, it transforms into the necessity of acceptance of a tragic fate, without hope); it is followed by a conventional cadence (without hope, there’s nothing Annie can do). Additionally, using a lot of rubato here erases the feeling of the time’s inexorability and implacability of fate, so I shouldn’t use much rubato here.

'Inner film':

Allegretto: first section, imagining beach and playing in a light way, in order to portray Annie Lee in a youthful manner and dolce especially in the 3rd bar, where I wanted it expressive and somehow anticipating the suffering to come (melodic jump of 6th and 7th chord). Then in Philip’s motif, warm and full sound (though p, in terms of dynamics), phrasing with direction to the 1st and 4th beats, more to the 4 th. Enoch’s motif, more energetic and direct sound but still full and feel the contrast between the three motifs. Transition: expressiveness of articulation (portato) and improvisatory character. Lebhaft: feeling of forcing the end of idea, as if running, but still with a playful character. Then, in the piano, silence, thinking about the story: Enoch’s overrule in the game they are playing and possessiveness over Annie, and then empathizing with Philip’s feelings of injustice and insurgency over Enoch in hatred. Then, in Annie’s transformed motif, think she’s trying to find a solution, though preoccupied and anxious about her friends’ quarrel. The tension gradually decreases until Annie’s motif takes over again. I feel that the tension from before is never really resolved, because although her motif now is not interrupted – it develops into full phrases –, what it develops into is just a simple cadence which is not of big significance. Then, the codetta of the section keeps this almost banal feeling, and the material from the lebhaft now doesn’t even have that indication on it (of being ‘livelier’), which, plus the staccati on the triplets and the diminuendo “hairpin”, could mean that it has less direction and closes more the section.

Langsam: Before playing, follow the story, where Enoch with apparent lightness says goodbye to Annie when going to the sea as a sailor, to which Annie responds by telling that she knows that it is probably the last time she will see him. While playing, think of Annie’s tragic feeling while trying to prepare for and to accept Fate. Then, 3rd bar more intense and keep it until C from 5th bar. There, left hand’s A flat comes from A natural from previous bar, so less surprising nor present. Then the cadence is so classical and conventional that it carries with it a feeling of gravity and inexorability.

Agitato: Before, think of Annie’s torment, contrast of her emotions: husband away (who might die), lost child, fear of not being able to give a good upbringing to her children. While playing, in the beginning, sextuplet can be a bit rushed; the following E minor arpeggio shouldn’t be too measured, almost with an improvisatory style, but full of direction and intention to reach the fortissimo. Then, really reach the extremes in fortissimo of bars 2 and 4. Bar 3: expressive left hand, especially in the A. Recitativo keep energy and very articulated in all notes, almost as if every note represented a word of Annie’s thinking. Then, in each repeat, less dynamic and articulation intensity and different melodic inflexions, plus calando until reaching tranquil. There, it’s as if it wanted to reach F, but then it decides to go back to E; the next F and F sharp are as if wandering, with F sharp carrying some kind of possible light. Then the music shows us before the text what can be the solution to Annie: Philip’s motif appears. Phrase it to the 4 th beat, following the hairpin, because it’s the most intense point of the motif. Then, relate well the harmonies, plus the portato as if speaking tired and sighing. At last, a very enigmatic V7 /V: is it tragic dolce? Guilty for seeing an exit in Phillip?

Last comments: Throughout the intervention I felt always focused and engaged with the music, with clear goals at every moment. Also, I felt that my creativity was stimulated and, at the end, I felt I knew better the music and its meaning.

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