Firstly and importantly, I have absolutely no intention of trying to persuade one way or another about whether or not one should use music in performance. It's absolutely a personal decision and what works best really differs from person to person, and even from piece to piece. I just thought that it might be interesting to discuss some thoughts and ideas from my experience so far. If you have more suggestions, please do share!
"How on earth did you remember it all?"
This is a question which comes up fairly frequently for classical musicians during discussions with listeners after solo performances. And is it any wonder? I think it's easy to forget, in the Conservatoire environment where it is simply the norm, that memorising thousands of notes in sequence at high speed and performing them musically under pressure is a bit of a feat.
However, I think before addressing the how, it makes for us sense to consider...
Why on earth do we remember it all?
There are two main reasons that I can think of for playing from memory.
One is a case of tradition. Until very recently and certainly throughout the last century, it has been pretty much assumed that concert soloists will perform without the score in front of them.
Interestingly, that has not always been the case. Both Beethoven and Chopin chastised their students for playing their works from memory, criticising them for being flippant and ignoring markings which were in the score. In order to save himself from the judgment that he would have received for playing one of his own piano trios from memory, Mendelssohn on one occasion gave an impromptu performance using a completely different score as a fake.
It is Franz Liszt (1811-1886) and Clara Schumann (1819-1896) who we have to thank for the memorising phenomemon. Both were instrumental in bringing about the concept of a solo piano recital as we know it today, and were notable exceptions in that they performed frequently from memory, establishing the trend which still exists today.
The other, and perhaps more consequential reason is that playing without the score can afford you freedom, both physically and psychologically.
The absence of a physical book has advantages; there is no need to have a page-turner, you can remove the music desk from the piano which is optimal for sound production and there is no risk of sheets slipping or accidentally turning two pages. You can walk onstage with your hands free.
Mentally there are also benefits. In order to perform a piece well from memory, it is crucial that it has been learned to the point that it is completely internalised. Playing without the score forces you to trust yourself- you can't look up 'just to check.' In theory at least, this allows you the freedom to give all of your attention to expressivity and musicality. For me, when I walk onstage to play from memory, I feel like I am affirming that a piece is deeply ingrained enough in my mind to take the safety net away (whether I always believe this or not is a different question entirely!)
There is arguably one less barrier between performer and listener which can allow some musicians more immediate, spontaneous and intimate communication.
However, playing from memory certainly comes with a cost. I think that this quote (from Clara Schumann, perhaps surprisingly!) sums up what can be the effect of performing from memory.
"I cannot give a single concert at which I do not play one piece after the other in an agony of terror because my memory threatens to fail me. This fear torments me for days beforehand." - Clara Schumann
If the fear of memory slips causes so much stress that it increases tension and distracts from the actually important matter of music making- then it is probably no longer serving it's purpose.
And playing from the score has it's own advantages. The precise instructions of the composer are there so there is less risk of 'approximation,' or of missing markings. The anxiety of playing from memory is removed and this can be the key to unlocking freedom in performance for many pianists.
Now let's get back to the 'how.'
Methods for memorisation greatly differ between pianists. Some friends and colleagues of mine never think about memorising actively- they simply play from the score until it becomes so comfortable that one day they can simply take the score away.
I find that my memory recall is much more secure under pressure when I include active memorisation in my practice and preparation leading up to a performance.
There are a few ways of memorising that I use often...
Muscle memory
This one is always essential. It is developed by consistent repetitions and can be particularly useful for very complex music in which 'conscious' memorisation is almost impossible. However, if there is a small wrong turn etc. onstage, it can be difficult to recover using this type of memory alone as it relies on it all feeling the same each time.
Visual memory
This can be visualising the score or the keyboard. When I play Mozart, I find it helpful to have a clear and detailed mental image of the score in my head as the texture tends to be quite clear and the harmony intelligible. I would not try this technique with Messiaen in the same way! It can also be visualising fingers on the keyboard and the whole choreography of a piece. Visualising can be a very handy way to practise mentally as it can be done from anywhere. However, a small disclaimer- a couple of years ago I went through a phase of doing a lot of mental practice every evening. In the end I realised that I was actually rehearsing doubt and anxiety into my pieces and this was neither necessary nor helpful nor time efficient. Sleep is in fact good for memory too!
Harmonic memory
This one requires conscious effort in the practise room (and can also be incorporated into mental practice). It is the process of having a solid understanding of the underlying harmonic structure. This I find to be particularly important in works from the Classical era. Actually this process is helpful whether or not you intend to eventually perform the piece from memory as it is vital for musically shaping the phrases. A really good harmonic memory can be a lifesaver if a memory slip does occur as you can effectively improvise a note or two over the correct harmony and prevent interruption to the flow of the music. However, it's probably not recommendable to be actively thinking about only this onstage as this becomes very inhibiting.
Aural memory
This one tends to develop quite naturally through repetition and can also be strengthened by actively listening to recordings. Knowing how a piece actually sounds is essential and can prompt other types of memory.
Structural memory
This one goes hand-in-hand with harmonic memory. It is the process of understanding the form of a piece. Sometimes, for example in a Classical sonata where the form is familiar this is a fairly simple process. At other times, a little more work is required to clarify the structure of a piece in my mind. In cases where the structure is highly complex, such as in a Bach fugue, I add 'signposts,' which are simply numbers (around ten per movement) which are of some structural significance and make sure I can easily go from those points at any moment. Then I know that I can always go from one of those points if need be. I remember my brother testing me on a Bach fugue by calling out signpost numbers during the first Covid lockdown. It was pretty effective!
A few other points...
-It seems to me to be important to practise in the way you mean to go on (stage!) Using the score at the last minute when I haven't planned to normally costs me more mistakes than risking playing from memory would have as I look up and don't immediately know where on the page I am.
-I find that the earlier I memorise a piece, the more comfortable I feel playing it from memory.
-Using a consistent fingering helps to strengthen one pathway in the brain and prevents the fingers from tying themselves in knots trying to distinguish between various options. (That is not to say that you can't change fingering, but just being intentional about it can be helpful).
-I have recently started practising my mindset before I go onstage. What do I want to be thinking at each point? Do I need to actively remember a specific turning point? Or am I free to be solely concerned with emotional involvement in the musical content? All are necessary but it's good to have a plan of this beforehand as this helps avoid unhelpful "what if I forget the next note?" situations.
I do think that, for me at least, thorough mental memory preparation is really important in the run up to a performance. However, all of this said, when it comes to to the walk-on, there is really one thing that is the most important.
Playing from memory in front of an audience requires taking a leap of faith.
Ultimately, you have to decide, whether you feel it or not, that you have done the preparation to the best you can and that what will be will be. You cannot be actively trying to recall every note onstage (well you can but you probably won't be benefitting from the freedom that playing from memory should bring you!)
This requires an immense trust, and also a sense of acceptance. There is an element of risk involved, yes, but a memory lapse is not the end of the world. Isn't it a bigger risk to play feeling restricted and terrified about forgetting?
I think it is worth saying that pianists who play from the score are no less prepared than those who play without. Latterly Sviatoslav Richter performed only from the score and certainly no one is going to argue than the music was not deeply ingrained enough!
In a world of ipads and page turning pedals this can even be done very discreetly. Those who use the score feel that having it will afford them the most freedom onstage and so result in a higher level of music-making. That is, after all, what is actually paramount.
My parents tell me that when I was learning to walk, I got to the point where I could walk very confidently- as long as I was still touching their pinkie finger with mine. This obviously was not actually supporting my balance, but as soon as they took it away I would fall over. I think that this demonstrates my point.
A final word...
It comes down to a question of freedom. What makes you feel the most liberated to communicate onstage?
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