Performing from memory

[Bryn]

Angela Hewitt used an iPad here in York for the JSB French Suites in 2017.
That was the first time I was aware of their use.
Very unobtrusive.

Being a page turner for someone is a huge responsibility!

Absolutely, especially so in the case of Cardew's Treatise.

[silvestrione]

In that case, what do you feel about chamber ensembles performing from the music?

Well if all the players had a page-turner, it would be unbearable! But string players are of course very adept, and I'm used to it. It may be a matter of convention really, but nevertheless, there is something so, so special about a Claudio Arrau coming out, sitting at the piano, rubbing his hands together briefly, than lifting them onto the keys, and playing the opening of the Presto of Beethoven's op 10 D major sonata, and continuing through with complete concentration (echoed in the audience) and stillness, through the great Adagio, the minuet, and the haunting finale. When at last he breaks the spell, comes out of his trance (which he used to do also with the very last note of the Liszt sonata!).

Would it be the same with a page turner? I'm not convinced. It's also something about the depth of possession of the music, isn't it? Which also transfers to the audience.

[ahinton]

Well if all the players had a page-turner, it would be unbearable! But string players are of course very adept, and I'm used to it. It may be a matter of convention really, but nevertheless, there is something so, so special about a Claudio Arrau coming out, sitting at the piano, rubbing his hands together briefly, than lifting them onto the keys, and playing the opening of the Presto of Beethoven's op 10 D major sonata, and continuing through with complete concentration (echoed in the audience) and stillness, through the great Adagio, the minuet, and the haunting finale. When at last he breaks the spell, comes out of his trance (which he used to do also with the very last note of the Liszt sonata!).

Would it be the same with a page turner? I'm not convinced. It's also something about the depth of possession of the music, isn't it? Which also transfers to the audience.

OK - but I wouldn't give much for the chances of a pianist playing any of Sorabji's large scale works without a score!