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2011-18: "Pianist"

A Collectif barbare / "Gastspiele" Festival Zürich co-production.

solo for pianist without piano

"pianiste" offers spectators an intimate and colourful alternative to the classical piano recital. Here, Astride Schlaefli uses "Bontempi" pianos made of orange, red and green plastic, cassettophones, harmonicas, music boxes, a megaphone, a pan flute, a melodica with a hairdryer, a record player, and various toys. All together they constitute a kind of musical machinery, poetic, funny and absurd at the same time. The repertoire naturally includes works for piano, from all periods and styles, played and interpreted in various ways on the instrumentarium available. All this is punctuated by Astride Schlaefli's comments and short stories, evoking in a wink her best and worst memories as a pianist.

with: Astride Schlaefli

Trailer:



Prologue: François-René Duchâble / „Le Monde“, July 2003.

François René Duchâble - renowned pianist and famous interpreter of Liszt and Chopin - announces that he is putting an end to his career as a soloist. On this occasion, he invites the French and international press to attend a final performance: he will drop his Bechstein grand piano from a helicopter into Lake Annecy and then burn his stage clothes on the shores of the lake.




A History of the pianist



Pianists generally start playing their instrument at the age of four or five. It is the beginning of a long and lonely battle against a demanding instrument; the solo instrument par excellence. During the course of the 19th and 20th century, the limits of virtuosity were pushed to extremes, putting the physical and mental health of pianists, then and now, at risk.

For instance in 1833, Robert Schumann built a machine to strengthen his failing ring finger, breaking the bones of his left hand and "condemning" him to composition, leaving his wife Clara to pursue a career as a virtuoso. This was only the beginning; a host of pianists including Annie Fischer, Clara Haskil, Arthur and Anton Rubinstein, Glenn Gould, Martha Argerich would follow, leaving behind interpretations as remarkable as their personal problems.

Digital recording techniques further increased the pressure on pianists; the listener accustomed to the flawless and consistent interpretations of the CD naturally expects the same perfection from the same pianist live. In doing so, they ignore the months of post-production in recording studios, while maintaining their demand for pristine perfection. What's more, pianists almost never play on their own instrument in concert, an unimaginable setting for any violinist, for example.

To sum up, 0.7% of pianists graduating in Europe will become renowned soloists and pursue a "classical" career. 70% will teach in music schools or universities. 10% will become entertainers on keyboards for weddings and company parties. And the others will change jobs. This range of professions is particular to the piano and is partly due to the fact that there are few, if any, pianists in orchestras. In comparison, orchestras and ensembles provide work for 40% of the violinists in Europe.