Beata E. Golec has been nominated as Artist of the Month by the
directors of the Bradshaw and Buono International Piano Competition
from 10/2006 through 03/2007.
Dear Friends:
Welcome to the Bradshaw & Buono site’s latest feature, Artist of the
Month. It is because we believe the components of career-building are
as important as those of artistry, that we would like to focus on
individual careers and the ways in which successful pianists are
pursuing them. We welcome your input and comments, and hope you will
find the interviews helpful in planning your own career.
In addition, each interview will include questions and answers from the
teacher of our featured artist, as a means of providing further
insight, and enhancing your own working teacher-student relationship.
ARTIST OF THE MONTH:
BEATA GOLEC
Beata Golec is two-time winner of the Bradshaw & Buono International
Piano Competition. A native of Katowice, Poland, she is currently a
doctoral candidate at the Eastman School of Music in Rochester, New
York, where her major is Piano Performance and Literature.
She is a student of Professor Rebecca Penneys.
__________
You have completed musical studies in both the United States and
Europe. What do you consider the most significant similarities and
differences between musical institutions and styles of pedagogy on the
two continents?
I would prefer not to make a general statement here comparing two
continents, cultures and backgrounds. Pedagogy, even though with the
same roots, traditions, theories and rules of playing the instrument,
is very personal. And it depends not only on the instructor’s
personality but also the student’s. Pedagogy, like psychology, is open
while performed by a free, confident and accomplished teacher, or
limited with square-minded human-being teaching or being taught.
Limitations are being set not only by a teacher or pupil. Background of
these two, influences of their families, peers, politics, religion and
economic situation are visibly reflected in the results of
collaboration between master and student.
For those pianists seeking a full-time performance career, what do you
consider some of the greatest difficulties to be overcome in terms of
performing?
1. Maintaining personality and being faithful to one’s own
priorities.
2. Being as strong as a rock and extremely sensitive and
vulnerable at the same time is a difficult and challenging feature of a
true artist.
3. Despite adverse circumstances that often arise, maintaining
total mental focus on the message you are to deliver through the
language of sound.
4. Being in control of any situation [where] you are to perform.
One hears a great deal about the recital format diminishing, not only
for classical pianists, but classical artists of all kinds. How
realistic therefore, do you think it is these days to pursue a
classical career?
Very realistic, if you carry multiple and universal talents. If you are
flexible and quickly adapt to new situations.
Pressing “black and white” with ease is not enough. Nowadays, in such a
demanding and cruel marketplace, it is crucial to have experience not
only in solo, chamber and orchestral music, but also in arranging,
conducting, and coaching, as well as playing other instruments
(harpsichord, organ). Such skills as transposing, reading figured bass,
harmonization, and sight reading are often forgotten or not cared for
enough.
What role do you think management plays in terms of helping an artist
achieve celebrity, and when do you think is a good time to look for a
manager?
Collaborating with a manager is very helpful for a musician and saves
time seeking venues. In such case[s], the artist is able to focus only
on art and practicing. On the other hand, lack of management forces
performers to search for events by themselves. This way they learn self-
presentation, marketing, etiquette and savoir vivre. Dealing with
potential promoters, patrons or employers is a unique life lesson.
You recently won the Bradshaw & Buono International Piano Competition
for a second time. How much do you feel competitions in general help
an artist, and how do you feel the Bradshaw & Buono, in particular, has
helped you?
Competitions in general are helpful in building one’s résumé.
Participating in piano competitions is a wonderful chance to meet other
artists for networking or collaborating in the future. It is also self-
promotion. You never know who might be interested in you and your
interpretations after seeing you compete.
Winning the Bradshaw & Buono International Piano Competition gave me
the unique opportunity to perform at Carnegie Hall twice. The fact of
winning the competition and performing at Carnegie was of such interest
to the media, both in the Poland and the United States, that I was
invited to [do] several interviews. One of them was held in New York
City in August.
I would like to thank the Bradshaw & Buono competition directors, who
created an event different from others. It is a piano competition
allowing me to be free with my inventions and ideas in music. It is a
competition focused on the artist’s personality and innovations,
uniqueness and freshness instead of machine-like technicality and the
amount of wrong notes hit. Viva Bradshaw & Buono!
Technology, particularly the Internet, has made it easier than ever for
artists to be their own promoters: web sites, emails, not to mention CD
burning, greatly facilitate reaching vast audiences. How important do
you think it is for an artist to be her own kind of self-marketer, and
how much do you think this can help a career?
Let’s translate it to the retail language: No one will purchase a
pricey product of an unknown brand, even the most excellent one. This
is where the advertising needs to kick in. No matter what the product
is, promotion plays a crucial role in the success of the sale.
Many successful celebrities talk a great deal about “giving back.” In
other words, using their success to help other aspiring artists with
their careers. What do you feel are some of the best ways for an
artist to do this?
I wouldn’t call it “giving back”, which sounds like a sacrifice or a
loan pay-off after years. To me it is a continuation of a lifetime
process of being an artist. Spreading knowledge and becoming an
excellent pedagogue is a life goal, life experience and life style.
Opening the door of art to a younger generation and letting future
pianists experience as much performing and dealing with the highest
level of art as possible, is the greatest gift one might receive.
Not only are you a successful pianist, but a composer and model as
well. How do you feel these distinct disciplines relate to one
another, and, artistically, how do prioritize them? In other words,
being blessed with so many talents, how do you decide on your use of
them, and focus your energies in order to pursue them?
I am striving to make every effort to become a complete artist and a
complete human being. Exploring various genres of art is very exciting
and helpful in mastering my main passions--piano and composition. These
two are my highest priorities. Modeling is an adventurous journey to
the world of photography, lighting and color and shape. It gave me a
new view on myself, boosted my confidence and presence, and of course
was very useful in promoting myself. Modeling also taught me that
every profession is difficult. Professionalism, talent and a great deal
of labor are required in every field in order to succeed and make even
the smallest project possible.
How important would you say it is, in terms of an overall career, for
an artist to be a good teacher? Does a pianist, even a very successful
one, need to spend time perfecting teaching skills as well?
It is crucial for a piano [teacher] to be a performing artist. Not
every artist is capable of teaching, though. Teaching is a combination
of knowledge, pedagogy, psychology, sociology. The bottom line is the
pedagogue’s willingness to share knowledge and experiences with a
younger generation of musicians. Teaching cannot be impersonal but it
is crucial to find the borderline between being too formal and too
friendly. Teaching’s goal is not only to discover new potentials in
human talents but especially to challenge the talent and let it develop
at its optimal speed. A lack of challenge is an equal waste of time as
well as the talent itself.
The art of teaching is a lifetime process; it is a learning process.
There is no obligation for a performing pianist to become a teacher but
such a skill has a special meaning in the process of becoming a
fulfilled and complete artist.
What is the point of perfecting one’s knowledge if it would never have
an outlet and would not be shared with anyone? That would be quite an
isolated way of living one’s talent.
Every artist makes their own decision in regard to teaching. Teaching
has a great influence on the artist’s psyche and character. It teaches
patience, understanding others, interpersonal relations, dealing with
grading and fairness, flexibility in relations with various students.
Since every student has a different potential, character, involvement
level and goals, they need to be treated personally and have teaching
methods adjusted to their personality and expectations. They also need
to be treated with honesty. Honesty might be challenging, since the
teacher wouldn’t want to harm the feelings of the student but must give
the student an honest assessment of his development as well as to give
adequate incentive for working to improve it.
In recapitulation, teaching is a complex psychological process and not
every artist is able to deal with it. In my personal view teaching is
enlightening and fascinating. It gives us knowledge not only about
others but most of all about ourselves, our capabilities and boundaries.
In your own experience, what have been some of the best ways to support
one’s self while pursuing musical studies, given that four or five
hours a day on average have to be devoted to practice?
I am an independent student enrolled in two doctoral programs. I work
as a piano class instructor at Eastman School of Music and organist at
Holy Cross Church in Rochester, NY. Besides, I coach vocalists, give
recitals and piano instruction. Work brings not only material benefits
but also helps in gaining professional experience very much sought
after by future employers.
Should a pianist concentrate on studying and learning specific
composers and their repertoire because they are more likely to be asked
to perform them? In other words, are certain composers and their works
more “bankable” than others? If so, who would those composers and
pieces be?
Variety is always a key to an interesting and successful performance.
Shorter compositions are more adequate for musically untrained
audiences. A helpful introduction spoken before performing makes the
atmosphere more friendly and less stiff. Diverse audiences consist of
listeners coming from many different backgrounds with different levels
of involvement, artistic expectations, and needs. The more interesting
pieces composed by various composers from different periods you
perform, the better the chances of satisfying and pleasing the
audiences for whom you perform.
People love to listen to compositions they know and are able to hum
along with. They also are curious and would like to learn and get to
know what is being created by the avant-garde young generation of
composers. That is why a combination of old traditions with new
releases is a very attractive offer for music lovers.
REBECCA PENNEYS
Professor, Steinway Artist, and chamber music performer Rebecca Penneys
boasts an array of accolades worthy of her accomplishments and
virtuosity. With a keen understanding of her own art, and an
expressive, intelligent way of articulating it, she is an inspiration
for everyone, from the newest piano student to the most polished of
performers.
When speaking with Professor Penneys one thing becomes very clear: she
appreciates all that is required to achieve the success she enjoys in a
highly competitive environment. Her wisdom has informed the
performances of her student, Beata Golec, and we think offers much to
anyone working to develop an ethic for artistry and performance.
What do you consider the most important aspect of the pedagogy with
your students: technique, interpretation, or an understanding of
composers and their styles, and why?
I would have to say all of them are equally important, because they all
play a substantial role in performance.
Is there a specific art to performing before a live audience versus
working in a recording studio, and if so, what are some of the elements
about live performance every artist should know?
A recording studio gives a performer the option of going back over the
repertoire again and again, and the acoustics of a studio are different.
With an audience there is an entirely different dynamic which is much
more unpredictable. Some halls are more stressful than others, as are
some audiences, so a performer needs to know how to handle stress while
playing. It is almost like athletes in the Olympics, who have to know
how to perform under pressure: you have to have your tools completely
at your disposal so that you remain in control at all times.
We have become such a highly visual society: performances are filmed
live, and almost everything we do is available to be seen—and
scrutinized. How much then, does physical presence and appearance play
a role in an audience appreciating a performance by an artist?
I don’t like the question “Did you see?” when referring to a musical
performance. Music is an aural art, and should be understood as one.
Conductors, for example are often equal parts dancers and actors.
Their movements should complement the music, and not be an attention
getter. With my own students, I don’t teach them to move around,
because I am more interested in more efficient movement. I don’t like
the “bungee jumping” that sometimes goes on on the concert stage,
because it has nothing to do with appreciating art, or the music. On
the other hand, contained, universal movements should be used, and can
be a pleasure to watch.
We often hear about rules for an audience: not talking during the
performance, no cell phones, no unwrapping of candies. These are
things that are designed to enhance the enjoyment of a performance by
other audience members. What are some of the things and artist can do
to enhance enjoyment of the performance by his or her audience? For
example, people have often commented on Glenn Gould and André Watts
singing audibly as they play, and many listeners are not pleased.
There is a limit. Saying a few words about each piece is good, as it
can bridge the gap between artist and audience. However, I remember
once performing and a cell phone went off, and the person carried on a
short conversation. This, I think, went over the limit. Each artist
is different, and I don’t like to be too strict, but creating that
connection between artist and audience is highly individual and must be
created based on personal taste.
We often hear as many reports about the death of classical music as we
do reports about it being alive and doing very well. What are your own
personal observations on the future not only of classical music, but
the future of those who make it their lives to perform it?
The truth is, I have a greater concern about global warming and peace
on earth. Good music will be around. We cannot separate music, and
music education from other issues, and there is an entire cultural
phenomenon that directly impacts music, and as we take care of other
problems, music will survive.
What advice can you offer artists for handling reviews, not only when
they are bad, but perhaps, more important, when they are good? How
seriously should one take any of them?
They should all be taken with a grain of salt—good and bad. Sometimes
things are said you don’t think about, but that are actually helpful in
formulating your career. Personally, I think some time around your
forties you start listening to your inner voice, and less to what
people are saying around you. Until then however, it can take a fairly
long time to get to a place where you are able not to be affected by
what is said in the press.