I play the piano semi-professionally; I'd love to play professionally (in theory) but its a highly competitive profession that requires an educational pedigree and a level of dedication I never acquired and quite frankly never desired. I don't know about you but I've got too many other interests and hobbies that make sitting in front of a piano 8 -10 hours a day realistically impossible. Music for me, and I'm guessing for most other INTPs, tends to be an intensely private affair and although I will and have played for large crowds people, I'm much happier playing just for myself.
I have the exact same feelings you do about Liszt! Creepy. A lot of his work tends comes off as shallow and manipulative like you said - not to mention almost impossible to play if you don't have massive hands. However, Liszt did write some beautiful music and the Totentanz is a work of genius, IF you're partial to dark and slightly twisted music. Rachmaninov is my favorite composer right behind Beethoven.
As for musical expression, I think it really does come down to learning to have confidence in your basic ability to play a song with precision and sensitivity, so that even though you might not give some goosebump raising performance you're at least playing a beautiful piece of music respectfully. In doing that, I've found that confidence gives way to being able to just relax, block out the world, and enjoy what you're doing and that in turn gives way to the ability to put a great deal of yourself into to your art and not feel like you're making yourself vulnerable. Like you said, it should be organic. You're awesome Cheese! Do you have any favorite compositions?
Your quote tags...they burn.
So you haven't any dedication, but you've managed to achieve good enough quality for large audiences? Madam, I fear I must charge you with INTJness. Your Pness has hardened and dropped off.
I haven't any interest in consistent 8 hour days either. I think that sort of structure would suffocate me. Perhaps my music would be emotionally affecting then.
I agree, it's intensely private. I would describe my approach to it as similar to Chopin's (death if you come too close). Actually, a lot of the time I like to ruin emotionally powerful pieces by syncopating the different lines and alternating entirely inappropriate speed and dynamics. This is often the only way I dare to approach them, for fear of being overwhelmed. [Relevant: Today, someone told me they love and adore me, and I had to run off and hide after that. Subsequently, I refused to speak to them without a pillow in between us. I managed not to impale them on the bedpost only by loudly imagining the Rach 2 2nd movement theme as techno.] [That last bit isn't, strictly speaking, true. I managed to get most of the blood off but it still looks a little suspicious.]
I agree as well about it being necessary to have confidence in your ability, especially your technical ability (so often overlooked even though it's essentially the vessel for musicality). I don't think that's my problem - as demonstrated above I have issues with intense emotions - but it would definitely ease things.
Yes, I do! Much easier than naming favourite composers (although Beethoven is fantasmagorgeous).
Liszt's (surprise)
B minor sonata
Concert Etudes 1, 2 (Un Sospiro is just massive wank time)
(Am trying to get youtube to work so I can have a listen to
Totentanz. From what you've said, I think I'll like it.)
Rach's
2nd sonata (original; don't like the revised as much)
Piano Concertos 2, 3
Op. 23 Preludes 4, 6, and 10
Op. 32 Preludes (several, I can't remember them all)
MELODIE IN E MAJOR, REVISED
Fragments - relatively rare piece, but exquisite
Beethoven
Many of his sonatas. He's just brilliant. One of them is the Appassionata, but there's so much beautiful simplicity and logical progression in his works, even the easier, earlier sonatas that they're lovely to play and listen to. The classical period is underrated.
Brahms
Intermezzo Op. 118 No. 2
This piece gave me great difficulty in terms of emotion.
Chopin
Yes, he's pretty and possibly not meant for the concert stage, but thank the lord that isn't a problem when you're not a concert pianist.
Etude Op. 10 No. 4, 10
Etude Op. 25 No. 1
(Playing any of the etudes is fun, because you can appreciate the miniscule, dainty beauty of Chopin's phrases. Sort of like admiring a beautiful woman's earlobe. In terms of listening though, the above are my favourites.)
The opening of Ballade No. 4. There's an incredible still beauty to it that slowly opens up and engulfs you...then it becomes petty and small.
Bartok
Folk songs/dances
Sonatina - such a pretty little work
Out of Doors
Sonata (1926) - a monster, and one worth taking the time to know
Bach
Who could forget good old Jo. I love the interminable energy and drive behind a lot of Baroque music. The Well-Tempered Clavier, of course, but also
Goldberg Variations (the Aria is just ridiculous)
Art of the Fugue
Concerto in D minor (I think)
PACHELBEL'S
CANON IN D!!!!!!!!!!!!!
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Kidding.
I've given you far too much information and probably the wrong idea. Oops.
You may notice a gaping hole where the works not involving piano are supposed to be. This is a result of ignorance, and I'd be happy for you to alleviate it.
Your turn!