Performance Journals

Every organ has its own personality. At the Sydney Organ Competition, I learned that preparing the music is only part of the work, you also have to learn the instrument, adapt to its pedals and keys, and stay calm when the unexpected happens.

Playing the same Beethoven trio in a different hall made me hear the piano differently, crisper, more powerful, and surprisingly different in the softer sections. During rehearsal, we adjusted the tempo, made more eye contact and gradually became more connected as an ensemble.

Performing Beethoven’s Op. 1 No. 3 on a fully open grand piano made me think differently about the instrument Beethoven knew. A lighter touch, the balance between three voices, and the acoustics of each performance can change the musical conversation in ways that cannot always be predicted in advance.

Waltzing Matilda was a lot of fun to play in our string quartet. As the second violin, I discovered how much listening, balance and rhythm matter and why making music with friends is what I enjoy most about ensemble playing.

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.