To Eat or Not To Eat - Before A Concert

The other day I had an idle thought which I put to my Twitter followers.
Basically I was interested in the eating habits of the musicians amongst them.
The tweet said,

"To the musicians out there. Do you like to eat before a performance or do you prefer to wait until afterwards?"

I was very pleased when I received replies from soprano/pianist Barbara Rathbone, classical musician Jamie Pullman and oboe/English horn player, Patty Mitchell.

I have written before about musicians requirements in preparation of a concert.
Here's an example, 'Sex, Drugs and Classical Music', and another, 'Nigel Kennedy - Running on Pure Adrenaline'.

But this related more to the use of Beta Blockers, not the daily requirement of food.

However I have also discussed Robin's needs pre concert here, with, 'Bananas on the High Seas and Bottom E', and 'From, Fish - Brain Food for Musicians, to Oscar Peterson, to Elgar.'

Robin always eats before a performance, whether it is classical, or with a band. But there is a difference. When playing with a band he just feels better if he has eaten, but if performing a classical concert, he needs to.
I believe this is something to do with not only the increased pressure he feels when playing classical concerts, but also, the level of concentration that is required of him.
He's not alone in this.
The renowned guitarist, Julian Bream, has said that he always has a plentiful supply of sandwiches backstage to eat before his concert.

But you do have to watch these musicians.
There's an amusing anecdote around Handel and his dietary requirements.
He was frequently known, when entertaining guests, to suddenly announce he had a musical idea, and to leave the room.
The 'idea' was simply that he kept his high quality wine in his music room, whilst serving a cheaper version to his guests, and had simply 'nipped' out for a quick drink...
Whether or not the great man ate before a concert is not known but I would be extremely surprised if he didn't!

Getting back to the results of this highly unscientific research, well, the results were mixed.

Barbara, a singer, always eats after a performance as she finds eating before affects here voice. When I asked about the energy required to perform, she acknowledged it was adrenaline that got her through.

This is completely understandable. A singers needs are very different to other instruments.

The orchestral player Jamie Pullman had a different approach. If performing with the orchestra he ate before, but if with his quartet, then afterwards.
The increased exposure, and therefore pressure, of the quartet performance appears to alter his needs. Although he did add that he found it easier to concentrate on the music if he was 'uncomfortable' due to being hungry.

Patty Mitchell, another orchestral player, always eats before a performance, although only a small amount. I assume this is provide just the required amount of energy without causing discomfort.

It seems, as you would expect, that every musician has their own way of dealing with the question of whether to eat before or after a performance.
It also appears that nerves/stress, the need to focus on the job in hand, and the ability to concentrate all play a part.

From observing Robin perform over many years I know the amount of energy he expends when on stage. Yes, when you watch a programme about classical musicians and see them sweating away under the bright lights, it's all true, not just sprayed on for effect.

But there was one aspect to all this that struck me.
Only 'classical' musicians amongst my twitter followers responded to the question.
Initially I had addressed it to all musicians.
There could be many reasons for this.
They may not have been 'watching' at the time the tweet was posted, they could have been busy doing other things rather than replying to a random tweet from me, or they simply may not have felt the issue was important to them for their particular style of playing.
This in itself raises more questions so I would love to hear from musicians from all walks of life to hear their views.

The Mind of a Musician

Those of you who are close to a musician, classical in particular, will know that they are their biggest critic.
For many years Robin never came off stage pleased with his performance.
Even when the audience had obviously loved the concert, and the reviews were excellent, there was always something that he was unhappy about.

I frequently toured with the Hill/Wiltschinsky Guitar Duo, and spent many hours reassuring both players, that their concert had gone very well.
But this is a common situation.
Questioning ones ability is a normal part of the musical process. It's what drives musicians on and encourages their musical development.

However, over the years, I have noticed that occasionally, just occasionally, Robin will say a concert went well.

So last night I was very pleased to receive an email form Robin, after the first of his concerts on board the QM2, informing me that he was delighted with his performance.
Many factors had fallen into place.
The sound was good, the lighting good, his nails remained intact, tuning wasn't a problem, the audience plentiful, and also very appreciative.
As he stood to take his final bow, he saw a number of people standing and applauding at the back of the theatre.
Then, some on the front row stood.
Before the clapping had died out, the entire theatre, 1000 people, were showing there appreciation.

This moves me immensely.
It also moves Robin.
When you invest so many years, and so many hours, every single day, in the instrument you love, then it is bound to affect you.
And finally, after more than 35 years of entertaining many thousands of people, all around the world, on land and on sea, in concert halls and through recordings, he can finally, occasionally, admit to himself, that he played well.

Classical Star - Revisited

Once again we found ourselves watching 'Classical Star', on BBC2, as it enters the penultimate week.

With only five students remaining, it was always going to be a challenge to reduce the number to three, for the final.
Collaboration was the focus of attention this week.
It's an essential requirement for a musician to be able to perform with other musicians.
Not only because it is nearly always necessary at some point in a musical career, but also, because it is a highly desirable stage in a musician's development to experience the synergy and joy of being a team member.

The Academy set up a blues masterclass with jazz star Julian Joseph, and it was within this setting that the students were required to learn the art of collaboration and improvisation.
All the participants entered into the spirit of the challenge with enthusiasm, some realising their limitations more than others, but it must be said that most were uncomfortable in this environment.

All the candidates have undoubtedly worked very hard to achieve their levels of skill on their chosen instruments, but, the ability to cross genres convincingly is achieved by very few.(Chick Corea, Benny Goodman and Wynton Marsalis come to mind).
Most classical musicians are ill at ease with other genres but some will learn over time to be more comfortable.

It's one thing to have the ability to play notes in the right places but another thing completely to feel the music and, of course, to improvise.

However, I'm sure they all gained a lot from the experience, which, after all, is what a masterclass is all about.

The challenge for the week was a tough one.
To perform at London's Southbank Centre, with professional string players, in front of an illustrious audience comprising agents, critics and managers from within the classical music industry.
All credit to the candidates for maintaining their 'cool', given the importance of the situation.
Many a battle worn professional would have found the scenario a difficult one.

We were disappointed with the amount of airtime the classical guitarist Ian had for viewers at home to listen and make their judgement. It seemed less than the other soloists, but, that may have just been our need to hear more.

As I said last week, Ian displays excellent technical ability, and I feel that over time this will stand him in very good stead.
Last night he played Boccherini's 'Quintet No.4 in D Major', but the amount of footage seen was so limited it was difficult to assess his performance.
The majority of the part shown consisted of rasgueados, which showed his ensemble and listening skills, rather than the areas of the piece designed to show off his guitaristic skills.

I'm not sure if the finals have already taken place, but if they haven't, the advice I would give to Ian is to work on his sound and projection.
.
The concert guitar used, will obviously play a significant part in this, as will nail quality.
That's why nails are so often mentioned in this blog!

It will be interesting to see and hear his choice of concerto for the final.
What Ian has to do, whatever he is performing, is to play with every last ounce of energy he has, and inject that into his performance.
It's no coincidence that musicians come off stage exhilarated but drained.

Whilst in the Academy this week all the students were in the enviable position of observing one of the world's greatest pianists, Lang Lang.
Now that is the sort of stage presence and gravitas which Ian needs to achieve.

Ian does seem very receptive to all the advice in the Academy so far, so, lets hope he can hold Lang Lang's performance in his mind and use it to his advantage.
That's star quality.

So Ian, use that adrenaline to give a feisty and powerful performance, and the very best of luck...

The 'Shame Flute'

Rumour has it that in medieval Germany, musicians who played poorly, were subjected to the public humiliation of the 'Shame Flute'.

The poor musician was forced to wear a mock instrument, with their fingers clamped in position, whilst they made a public apology to the music!

Music was obviously taken very seriously, and I would love to find out more about this.

I can't help wondering who made the decision about the musician's ability.
Did the audience take a vote at the end of each concert?
Was it related to a sort of primitive clapometer?
Could the system be abused to humiliate a rival soloist?

Whatever the history, the fact that music was held in such high esteem, is a great thing.
I can't imagine having one's fingers clamped would help very much with any future performances.
Whilst I don't advocate a return of the practice, maybe it could be used as a method for encouraging students to spend a little more time on their scales and arpeggios....

Last Night of the Proms and Choral Composition

Whilst Robin was out last night I thoroughly enjoyed watching most of the 'Last night of the Proms'.
Conductor, Jiri Belohlavek, did a wonderful job and produced excellent performances from all the musicians.
The BBC Symphony Orchestra seemed to be having a ball, after what has been a very busy season for them.
To see so many people around the country, enjoying the music and the tradition of the Last Night, is very touching indeed, and can only help promote classical music globally.
The orchestra is such a mighty instrument, that we do well to remind people that to hear so many talented musicians in one place, is truly a spectacle not to be missed.

It also helped me.
Sundays, usually, are the only day of the week that we get to relax a little.
This morning was one of those days which was a real delight.
Robin started listening to the choral piece that he is currently composing, and I felt in a much better position to comment after hearing the 'BBC Symphony Chorus' last night.
Somehow it helped focus my mind, and my ears, on the possibilities available when working with voices, and I understand much more the effects that Robin is achieving in this new work.

The piece isn't completed yet, but it will be a very exciting day when it is, and even more so when we get to hear it performed by real live musicians.

Henman and Hill

We have all heard the news that Tim Henman is due to retire from competitive tennis at the end of September.
After a 13 year career and 11 titles he has done exceptionally well.
It must be so difficult for sportsmen and women.
They dedicate their youth to improving their game and have such a limited time to prove themselves.
To retire from a sport that has been your life, when you are only 32, must be incredibly difficult.
The adrenaline rush of a finals match will be a difficult feeling to learn to live without.
Although I'm sure he stall has a lot to offer the game and future generations.

How different to the life of a musician.
For classical musicians particularly, at 32, you are only just getting going.
It's the complete reverse of the situation in which sportsmen find themselves.

Henman is retiring for many reasons.
Age is only one of them, he also has a persistent back problem, and it is impossible to compete at the level he plays unless in the peak of fitness.

But the other reason he cites is the imminent birth of his third child.
Years of travelling the tennis circuit require lengthy periods of time away from home.
That is incredibly difficult.
It is however also a situation that the families of musicians have to face.
Robin has spent the day in final preparations for his next trip, and I have been folding shirts and packing his case.
At least we got most of the school holidays with him at home which has been a rare treat.

But at least Robin knows that his career doesn't have to end purely because of age.
Hopefully he will have many, many, more years to use the skills he has spent so long achieving.

Organ Donation Awareness to Mood Changing Music

Blogcatalog are running a 'Community Organ Donation Awareness Campaign', which, as the title suggests, plans to highlight the need for more organs for transplantation.
For more information on the UK statistics visit 'UK Transplant'.
How does this fit in with the life of a classical musician you may ask?
Well I'll tell you.

We have first hand experience of the benefits of organ donation.
A very significant person in our lives was lucky enough to be one of the few on the waiting list to receive a new heart.
As you can imagine this was preceded by years of failing health and distress to all concerned.

The 'call' from the hospital informing us a match had been found was equally difficult to comprehend.
Hospitals have strict assessments for anyone on a waiting list, as they have to be able to cope with not only the physical strains of the procedure, but also the emotional ones.

After many tense hours, the operation was completed, but it was a few days until the worry started to subside.
It's actually quite amazing how quickly someone recovers, and within a few weeks, are back at home in a much better state of health than prior to the operation.

Robin was obviously involved with the whole event. Regular visiting, boosting moral, and generally supporting the rest of the family, not to mention continuing his performing career and looking after son number one, as we went through this stage of our lives.
One thing that remained at the front of all our minds was the 'gift of life' we had been given - literally. We had the pleasure of Tony's company for seven more years, it would only have been days or possibly a few weeks at most without the transplant.

The donor family were, and still are, often in our thoughts.
This is a difficult concept for anyone to deal with.
Their loss was our gain. But we never forgot that.
Little information is given about donors, but we did know that it was a 19 year old boy.
The strange thing is, that Tony suddenly developed a liking for pizza, which he had never previously enjoyed.
I've heard of other cases where likes and dislikes change. So I hope that donors can take some comfort from the fact that part of their loved one very definitely lives on.

But could musical taste also be altered. We know from research that music can most certainly affect mood. There's a very interesting article by Nic Fleming discussing just this. Listening to music releases dopamine which results in a sense of happiness. You can read the article here.

Can musical memories be passed on? I'd love to be able to give you an answer to that one and tell you that Tony suddenly developed a taste for rap music, but as I don't know the musical tastes of the donor, and, Tony had a hugely eclectic taste anyway, I'm afraid I can't say.

Suffice to say that making more organs available for transplants can only be a good thing. And music, well all the surgeons I know, play music in the operating theatre to aid their relaxation. This can be anything from Meatloaf to Beethoven...
Tony's surgeon listened to Oscar Peterson for his operation...