Reading Scores

[Bella Kemp]

At a recent prom concert (Mahler 3), I followed the score for all but the last last movement. Subsequently, I remarked to my brother that I had done this and he was horrified, saying that to do so was anti-social and as distracting as someone who flicks through the programme notes during a performance. My husband, who has been to many concerts with me when I have done this, insists that there is no problem, but I just wondered what views the forumistas might have on this? I have to say that I don't always follow a score, but when I do so it gives me great joy.
The Mahler 3, incidentally, was extraordinarily wonderful. I could not follow the score for the last movement simply because I was too overcome and literally trembling with emotion, I noted also that Jenny Carlstedt, the soloist, was in tears.

[Joseph K]

I considered taking my Dover Complete Scriabin Sonatas edition with me to Jonathan Powell's performance of them but in the end didn't because I might have imagined it irking someone even if it wasn't - so I suppose I was ruled by my imagination/paranoia but I wasn't that fussed either way so it's no big deal. I've never sat near someone doing it so can't comment.

[oddoneout]

Given what audiences get up to during performances these days I would think that following scores is pretty innocuous, although I suppose if it's on a device the light might be an issue for some.

[edashtav]

At a recent prom concert (Mahler 3), I followed the score for all but the last last movement. Subsequently, I remarked to my brother that I had done this and he was horrified, saying that to do so was anti-social and as distracting as someone who flicks through the programme notes during a performance. My husband, who has been to many concerts with me when I have done this, insists that there is no problem, but I just wondered what views the forumistas might have on this? I have to say that I don't always follow a score, but when I do so it gives me great joy.
The Mahler 3, incidentally, was extraordinarily wonderful. I could not follow the score for the last movement simply because I was too overcome and literally trembling with emotion, I noted also that Jenny Carlstedt, the soloist, was in tears.

I frequently follow scores in concerts but have upset some fastidious listeners, much to my surprise.

[Bryn]

I frequently follow scores in concerts but have upset some fastidious listeners, much to my surprise.

Hmm. I make a point of not even consulting the programme booklet during the performance itself. It can be as annoying as having someone unwrapping sweets (or eating the dreaded popcorn) to have a score-reader turning pages close by at a concert.

[Pulcinella]

I considered taking my Dover Complete Scriabin Sonatas edition with me to Jonathan Powell's performance of them but in the end didn't because I might have imagined it irking someone even if it wasn't - so I suppose I was ruled by my imagination/paranoia but I wasn't that fussed either way so it's no big deal. I've never sat near someone doing it so can't comment.

I sat next to someone at the premiere of Nicholas Maw's Hymnus who was following the score, and kept my own beady eye on it, but agree that I'd not follow my own score in public, for exactly the distraction reasons others mention.

[Joseph K]

I sat next to someone at the premiere of Nicholas Maw's Hymnus who was following the score, and kept my own beady eye on it, but agree that I'd not follow my own score in public, for exactly the distraction reasons others mention.

Yeah. Come to think of it there is a moment in Roberto Szidon's recording of Scriabin's 10th sonata where you clearly hear a page turn (but that is obviously in the studio, so it would seem he hadn't memorised it).

I would rather not be wondering whether I was disturbing people around me, however.

[Andrew Slater]

I was so close to the players in a trio concert recently that I managed to follow the violinist's score - with the advantage that there was no need for me to turn any pages.

I was once at a performance of Messiah where both people to my left (same direction as performers, so in my sight-line) were following the score. It was particularly disturbing when they either got lost or were turning back furiously for repeats.

[Ein Heldenleben]

Barenboim spotted a score reader in the choir stalls at the RFH after one of his Beethoven recitals. On his way out he asked him “Did I get it right ?”
Imagine being able to hear the page turns while you’re performing - particularly if it’s a different edition.

[Eine Alpensinfonie]

The first time I sat next to a score reader was at a Hallé/Barbirolli concert in Manchester in the early 1960s. I was envious, and surreptitiously followed his score through the corner of my eye. It was a miniature score, so was unobtrusive. Perhaps a larger Dover score would be more distracting, though I did buy the large Boosey & Hawkes score of the Elgar/Payne Symphony Symphony no 3 immediately before the premiere, and followed it during part of the performance.
Some concerts dim the lighting during the actual performances, so reading a paper score becomes difficult.

As a music student in the 1970s, I was asked by a fellow student not to follow a score during a concert. I acceded to this request, realising that for some score following was a distraction.

Only once did I follow a large full score during a performance Elgar’s Dream of Gerontius in Chesterfield Parish Church. I was sitting right at the front, with no audience members close to me. The only person who seemed to notice was “Gerontius” himself, who smiled at me several times during the performance.

[smittims]

I found this discussion interesting and am grateful to Bella for raising the point.

It had not occurred to me that anyone would think it antisocial to follow a score at a performance; I've often seen people do it and thought it quite normal. But I am reminded of an incident over forty years ago which amused me at the time.

I went to the RFH to hear Pierre Boulez conduct Pli Selon Pli, and since the work is not often performed I took my scores to follow. I like to be in the auditorium early, and as the scores are large and there was no-one else there, I placed them on a seat near to me,. After a while a man and woman came in and sat there, the man very slowly and ostentatiously picking up the scores one by one and putting them on the floor behind the seat. I took this as deliberate piece of rudeness designed to show me and the woman that he couldn't be bothered to care what or whose they were. I picked them up and followed the performance (turning the pages silently!) and he did nothing.

At the 1979 Proms Gurrelieder (MIchael Gielen conducting) a woman in the row behind me , some seats further along, followed the performance from a vocal score wrapped in old Christmas gift paper which crackled loudly at every page turn. At the interval I suggested to her as politely as I could that it would be better if she removed the paper. She glared at me as if I'd asked her to take her clothes off, but although she said nothing, before part 2 started she removed the paper. I was congratulated by two people who presumably had wanted to make the same request.

[Ein Heldenleben]

I seem to remember that the upper slips at the Royal Opera House (at the extreme left and right ends ) had three or four music desks and shaded lights for score readers. A good idea as I suspect from there 80 per cent of the stage is invisible. I think they’ve gone now so I guess you just have to audience watch instead. In the music stand days these were very cheap seats.

I can’t see much point taking scores to live performances but if some one next to me does I usually ask to “share” or look over their shoulder. Last time that happened it was Bruckner 9 Haitink and the VPO at the Proms. Quite useful as one was able mentally “hear” or in some way actually enhance psychologically details missing in the rear stalls. Didn’t help with Murray Perahia’s rather quiet Steinway though.

[mopsus]

I seem to remember that the upper slips at the Royal Opera House (at the extreme left and right ends ) had three or four music desks and shaded lights for score readers. A good idea as I suspect from there 80 per cent of the stage is invisible. I think they’ve gone now so I guess you just have to audience watch instead. In the music stand days these were very cheap seats.

I recall reading about the 'pillar seats' at the Vienna State (or in those days Court) Opera at the start of the 20th century, which were favoured by those who wanted to read a score, perhaps because there was lighting attached to the pillar.