Performance Journals

Performing Beethoven’s Piano Trio in C minor, Op. 1 No. 3 was especially meaningful after exploring the story behind his decision to publish the trios as his Opus 1. Listening, balancing and responding to the other musicians gave me a new perspective on Beethoven’s music and the privilege of bringing it to life in performance.

After almost a year in Chamber Choir, I have discovered that singing is not only about my own voice. From balancing the bass with other sections to listening for the moment when fourteen voices become one, I am fascinated by how individual sounds can come together to create something greater than themselves.

Live performances rarely unfold exactly as rehearsed. At the Ryde Eisteddfod Piano Partnership event, an unfamiliar piano presented unexpected challenges, but careful listening and teamwork made all the difference. This journal reflects on adapting to changing performance conditions and the importance of trust, communication, and preparation in chamber music.

Performing Bach's Trio Sonata in C major, BWV 529 marked a significant milestone in my organ journey. This reflection explores why the Trio Sonatas are among Bach's most demanding works, and how studying three independent voices transformed the way I listen, think, and perform.

Preparing Bach's Trio Sonata in C major, BWV 529, taught me that organ playing leaves nowhere to hide. With every voice exposed, the challenge extends beyond technical accuracy to shaping three independent musical lines that come together in a single, expressive conversation.