A Quote by Hilary Hahn
The nice thing about the violin repertoire is that it's small enough that you can plan on learning everything at some point - whereas the piano repertoire is so enormous it wouldn't be possible unless you're a learning machine.
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Of course, the recorder will never have the repertoire of the piano or the violin.
I don't record for my own glory.I mean, of course part of it is for career advancement, but more importantly, I want some of that repertoire - as much of it as possible - to remain and enter pianists' consciousness and, hopefully, into the standard repertoire.
But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.
I'm lucky because my repertoire is so specific, and theaters are interested in me singing my repertoire because it is not done so much. I'm pretty well settled in my repertoire. I like what I sing. My voice is high, and there is not much in baroque opera for higher tenor.
Learning and performance will become one and the same thing. Everything you say about learning will be about performance. People will get the point that learning is everything.
The more you're out there singing, learning, and adding roles to your repertoire, it reforms the next piece.
Previously, we might use machine learning in a few sub-components of a system. Now we actually use machine learning to replace entire sets of systems, rather than trying to make a better machine learning model for each of the pieces.
The act of learning to read added an entirely new circuit to our hominid brain's repertoire. The long developmental process of learning to read deeply changed the very structure of that circuit's connections, which rewired the brain, which transformed the nature of human thought.
I guess really what my goal is is just to enlarge the violin repertoire.
Whenever I record something, I always believe that it's worthy of inclusion in the pantheon, and I would certainly like pianists to pay more attention to it. I think it's ridiculous now, because the range of repertoire - or what's considered 'safe' - is so narrow, even though there are pianists who are really trying to push the envelope. There is still a lack of attention, and there's no reason for it. The piano repertoire is so rich, with so many wonderful things that still are not given their due.
If I can do concert recitals, adapting the repertoire to my needs, then no problem, that's good enough. But with operas, unless the right circumstances come up, my career is done.
If I can add, say, 10 great new violin concertos to the repertoire before I'm done, that will be truly exciting.
If you try to impose a rigid discipline while teaching a child or a chimp you are working against the boundless curiosity and need for relaxed play that make learning possible in the first place... learning cannot be controlled; it is out of control by design. Learning emerges spontaneously, it proceeds in an individualistic and unpredictable way, and it achieves its goal in its own good time. Once triggered, learning will not stop--unless it is hijacked by conditioning.
I consider the first 20 performances just learning the piece. Think about it this way: If you think about a pianist who plays a Schubert sonata through his whole lifetime - if you listen to Rubenstein or Horowitz playing their repertoire later in their life, you understand the richness with which they play that music, and how differently they must have played it when they were younger.
The more I think about myself, the more I'm persuaded that, as a person, I really don't exist. That is one of the reasons why I can't believe in any orthodox religion: I cannot believe in my own soul. No, I am a chemical compound, conditioned by environment and education. My "character" is simply a repertoire of acquired tricks, my conversation a repertoire of adaptations and echoes, my "feelings" are dictated by purely physical, external stimuli.
Even if you are a pianist, your concerto repertoire is very limited compared to what your chamber repertoire would be if you were a chamber music pianist.
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