The Mind Over Finger Podcast - 060 Marc-André Hamelin: Musical Offering

Starting point is 00:00:00 You're listening to the Mind Over Finger Podcast, episode number 60. Welcome to the Mind Over Finger Podcast, discussions on mindful music making, efficient practice, and building a purposeful career. And now, your host, Dr. Renée Paul Gaultier. Hi everyone, I hope you're doing great. Today I have the chance to talk with international piano soloist and composer Marc-André Hamlet. Marc-André is described as a performer of near superhuman technical prowess by the New York Times, and believe me, that's true.

Starting point is 00:00:48 He's known worldwide for his unrivaled blend of consummate musicianship and brilliant technique in the established standards, as well as for his exploration of the rarities of the repertoire. Recital appearances this season include a return to Carnegie and Wigmore Halls, and on stages in Prague, Munich, Frankfurt, Stuttgart, Moscow, Monte Carlo, San Francisco, and many other cities worldwide. Marc-André records exclusively for Hyperion Records, and I invite you to take a look at his impressive discography of more than 60 recordings, including concertos and works for solo piano by composers such as Alcon, Godowski, and Mettner, as well as brilliantly received performances of Brahms, Chopin, Liszt, Schumann, and Shostakovich.

Starting point is 00:01:36 There's also two releases this season, one a solo disc and a recording with the Takács Quartet. Marc-André has composed music throughout his career, with nearly 30 compositions to his name, including The Etudes and Toccata en l'Homme Armé. He's the recipient of a multitude of awards and honors, including a Lifetime Achievement Award from the German Record Critics Association, and has received seven Juno Awards and 11 Grammy nominations. He's an officer of the Order of Canada, a Chevalier de l'Ordre du Québec, and a member of the Royal Society of Canada. Today, among many other topics, we discuss his philosophy about performing, how he approaches solving problems, the wonderful reason he prefers to play by memory, how important curiosity

Starting point is 00:02:24 has been in his career, and the importance of living a full life and be exposed to culture. Marc-André is an incredible artist and human being, and I'm so very happy and honored to have him on the podcast today. I know that you'll be inspired by his insight and wisdom. Let's go to the show. Marc-Andre Hamlin, it's such a great honor to have you on the show today. It's wonderful to be here. Marc-André, you're an artist that probably doesn't need introduction, but just for the listeners out there who might not be as familiar with the piano world as some of us are, can you please tell us a little bit about your artistic journey and how you got to where you are today? Oh my goodness. Well, I mean, to get back to the basics, I don't think that I would be doing this really had it not been for my father. He was not a professional musician. He was a pharmacist by trade, but he was a very good amateur pianist. His first love was really music.

Starting point is 00:03:36 I mean, he only went into, he only pursued a scientific career because he may have felt that nothing was really happening, you know, in the music field. And there, I mean, he was born in Trois-Rivières, it's about 90 miles from Montreal, and which was culturally not very developed, one has to say, you know, at that time. it's grown by leaps and leaps and bounds since but still uh back then you know there was very very little happening there so he may have felt that there weren't too many opportunities you know and the future looked kind of blank we never really talked about it but that's really what my take on this is so uh he pursued a scientific career and he uh he studied pharmacy and that's what his profession was but he never talked about pharmacy when he was home i can tell you that i mean it was it was all it was all music i mean he loved to spend his evenings playing the piano

Starting point is 00:04:35 and listening to uh recordings mostly old recordings of the golden age of pianism you know which means basically anybody who recorded for um a 17 rpm record so maybe the first uh uh, roughly 40 or 50 years of the 20th century. And, uh, consequently, that's what I also grew up on because that's, you know, that's what, that's what played around the house. I, I, uh, got to know other musics too. I mean, uh, of course I was introduced to the Cardinal of the Animals and Peter and the Wolf as a young kid, as a young child, but, um, uh, also Tchaikovsky ballet music and uh tons of piano music of course recordings and other things other symphonic music uh so music was always around the house and um it was only natural that i should pursue that path

Starting point is 00:05:31 because i liked to hear him play apparently that's what he that's what my parents told me and uh it took a while before anything happened you know when they put my hands on the set me and put my my hands on the piano and say go ahead you know is that nothing would happen but after a while it started to and i started lessons um around my fifth birthday actually and uh it was perfectly voluntary because um my dad asked me i remember i still can see that moment actually the moment where he asked me would you like piano lessons i said sure so that's how it started i've never stopped i um and it wasn't long before it was discovered that uh i seem to have a certain facility a learning facility and also a digital facility so that's how it's better you know mark

Starting point is 00:06:26 andre i think that there's no doubt that you have a wonderful technical mastery but one of the things that strikes me with your playing is also how powerful your musicality is and the flow of your phrasing is just incredible. And something that I find my listeners are always really curious about is the way great artists practice. And I was wondering, because you were just talking about how it was maybe clear that you had a facility to learn, but I'm also curious about early practicing habits that you think might have made a difference. I really have to think back now. I I mean, of course, I did the usual scales and arpeggios and other exercises. We were assigned some specific kinds of exercises from specific books.

Starting point is 00:07:21 I remember there was a book by Isidore Philip, which was really quite comprehensive. And we were assigned some things from that book. I also remember being assigned the wonderful exercises of Brahms. Not very many people know, I think, outside pianists, and even some pianists maybe don't know that Brahms wrote 51 exercises, which are highly useful, and not only towards playing his own music, but his exercises are a wonderful exploration of the expansion of pianistic possibilities and technical drilling. There were other things, of course, but even just the basic things, I've always found that scales, if you just take scales, they're not only useful to develop your dexterity, But what's really probably the greatest usefulness is that they will imprint the personality of each of the 24 keys. And by that, by personality, I don't only mean the character and the color of each tonality, but also the feel of each of the 24 keys underneath the fingers. And in order to acquire fluency at the keyboard, I think that's really one of the key components.

Starting point is 00:09:06 so uh practicing scales especially at the beginning may seem extremely arduous and um it's perfectly understandable that one couldn't figure out why one is doing it especially as a young child but uh it's the kind of thing of which the usefulness will only be apparent much much later that makes sense i oftentimes find that also the great artists are very smart i think oftentimes it goes hand in hand with maybe the way our brain processes information and how we problem solve do you think that that's something that makes a difference for you yes i think you you uh i mean you have to have a certain ammunition to begin with from your teachers but as soon as possible you should know how to solve problems on

Starting point is 00:09:59 practicing you know the definition of practicing to me is really becoming your own teacher because you have to be able to solve the problems i mean the the the mantle of uh the teachers solving the problems for you you know has to be transferred to yourself that you inherit the mantle and and the entire responsibility and of course this gets you to know yourself. And you have to know yourself in order to find out what kind of a teacher you are and how to solve these various problems that are constantly coming to you. And find out what kind of student you are as well. Oh, yeah. One is an eternal student. I mean, that's a given.

Starting point is 00:10:48 And would you mind illustrating that maybe with an example? How do you problem solve a difficult passage? Well, it may depend on the type of difficulty, of course. I think the best way probably to do it is to zero in within the passage what is most difficult in it for you and attack that problem. The great pianist and pedagogue Alfred Corteau even went further in saying that you should work not only on the difficult passage, but you should also distill to its basic element what the difficulty is and work on that as well, independently of the passage. and I think that it worked for him you look at all of his editions and there were many he edited almost the complete works of Chopin

Starting point is 00:11:46 many works of Liszt and Schumann and the frontispiece of each of these editions that's what he says work not only on the passage but distilled to its elementary character the difficulty itself the type of difficulty and work on that as well so it was i think critically important for him that makes so much sense and that's often i find that's the step that most people skip is really trying to understand it oh it's i mean it's so

Starting point is 00:12:20 tempting to play pieces at tempo you know and think that you have sidestepped you know many I can start that again you know it's really so tempting to think that you have overcome difficulties and you can just play pieces at tempo

Starting point is 00:12:47 but something like that will never be as effective towards an ideal interpretation an ideal grasp of the mechanical aspects of the performance as a detailed examination of what the problems are and and trying to solve them that makes so much sense and one of the topic that i get the most

Starting point is 00:13:15 questions about is memorization and thinking about what you just said i find that especially for the piano because you guys memorize so much of the repertoire i strongly believe that i play better the things that i have to memorize because i understand them better for me to have to memorize them i need to go to a deeper level a much more active level less passive and this mental exercise of memorizing which of course is related to the physical repetitions of course there's a certain amount of rote memory that comes in but the mental exercise of memorizing passages really helps with learning them better and um so that's something that my listeners are really curious always about memorization what would be some advice you could give them if they are struggling with memorizations

Starting point is 00:14:09 well on a basic level we all have different brains so it's um not to provide an all-encompassing solution to memorization but however i can talk about myself certainly and uh the the difficulties or lack of difficulties that i may have and i think the greatest advice i could offer the greatest blanket advice is not to try not to try consciously to memorize like i haven't memorized this page at the end of the afternoon you know i'm i'm a i'm a zero you know no you can't do that you have to let it happen i think uh i i think inevitably through repetition after a while some of the music will stick um and of course you know there's different types of memorization uh you can see the score of course there's visual memorization and uh also

Starting point is 00:15:15 visual memory memorization of the uh of your movements the fingers movements on the on the keyboard uh there is tactile memory there is oral memory and there's also analytical memory and in time i think that uh for a given piece you should be aware you should develop all of these memories so that if you're in a tight spot when you're playing without a score on stage you always have something to hang on to because it's very likely that one of these memories will fail you if you're nervous yes but that that is really the the best advice i could offer is is not to feel the pressure otherwise it just becomes a very very unpleasant exercise and you can feel repeatedly defeated.

Starting point is 00:16:08 That's a really great point. And I completely agree with you. This is maybe a side question, which doesn't necessarily relate to the subject, but the question of playing without a score or with a score, my personal feeling about it is that if you can play from memory, you should. But I don't think that anybody would hold it against you

Starting point is 00:16:32 if you use a score. as a matter of fact I can't tell you and you've probably experienced this too I mean how many people have told me my god you played all this concert with not one note in front of you well I think the pianists

Starting point is 00:16:48 in a way are sort of expected to although I don't think as I said that people would really criticize you if you played with music you know there are a number of pianists actually who use a score all the time and Sviatoslav Richter was a case in point

Starting point is 00:17:06 in the last few decades of his life I mean he just didn't feel secure and the reason that I try to play without score as much as possible and my memory independently of that you know seems to serve me pretty well although I've had my problems too is that you know I see a recital really as a one-to-one communication active communication with an audience i mean it's an offering therefore i want the communication to see to to i want the communication theatrically to seem as direct as possible uh it's it's a one-on-one thing and as soon as there is a score in front of me and especially a page turner then it starts to look to me to me a little more like a job or like a task so that's why i personally am not crazy about

Starting point is 00:18:01 playing with the score um although in certain circumstances of course in the case of a of a contemporary work or something that i'll only play once for example i i won't mind using a score but generally i try not to and uh just to finish on the subject um another reason i don't like playing with score is that when the music rack is up there's a lot of the sound that doesn't get to you and you don't get the full flower of the dynamics that you produce so therefore you're you tend to force the sound a little bit uh because you don't hear as much as as what is what comes out so uh i've tended to play a little more harshly without without intending to oh uh there you have it that's the memory i really love what you describe about this being a one-on-one

Starting point is 00:18:55 conversation that's a really wonderful approach it's really the only reason i go on stage is is really to to share my discoveries and share music the miracle of music the miracle of human creativity and you know this is not a question actually but what you just said made me think about it something that some of my guests in the past i've mentioned and it's a topic that comes back a lot is the relationship that we have with our colleagues and i will always think of you as an extremely gracious musician because i remember performing with you years ago in the chamber music festival fresh out of school you know very um young and it was a slight you know slightly intimidating to walk in the room and rehearse a Brahms quartet with you just one rehearsal I think

Starting point is 00:19:49 and um you were nothing but the most gracious colleague and to me that made a really profound impression that when an artist no matter how famous how great they are the way you treat your colleague really can help them rise up to the occasion and present themselves under um you know really perform at their best and um so hearing you talk about performing that way makes me think about this and i just want you to know that it did not go unnoticed and that's definitely something that has stayed with me all these years. Well, thank you. I mean, number one,

Starting point is 00:20:32 I mean, there's really no reason to be. I see no reason to be difficult in any circumstance. The only reason I could possibly be is if a colleague voices some very strong objections in an unpleasant way. But that's really never really happened.

Starting point is 00:20:48 I can think of a couple of conductors with whom I've had, you know, passing rather strong disagreements, I could say, but never something that would cause me to storm off stage or storm off a rehearsal or anything like that. And as I said before, number two, I mean, music is just,

Starting point is 00:21:10 what we're doing is cause for celebration. It's a celebration and above all else. So there should be as few dark clouds as possible. I guess I definitely agree. You know, another question I get from listeners often is how to get ourselves in the headspace to practice efficiently. So I wonder how you do that. How do you prime for practicing?

Starting point is 00:21:39 How do you get yourself in the most efficient headspace to practice? I just go to the piano and start playing. I mean, it sounds idiotic, but that's really what happens. I just basically pick it up where I lift off. You know, there's no psychological preparation or physical preparation. I mean, people talk about warm-ups. I mean, in my case at least, it's never a physical warm-up unless I've been outside in the cold or something and my hands aren't completely limbered up. But it's just a mental preparation.

Starting point is 00:22:17 It can take me a couple of minutes to really fully be back in the subject matter and focus on the music. So that's it, really. Physical warm-up to music. Marc-André, I don't want to keep you for too long. I truly appreciate this time. But how about a round of rapid-fire questions before I let you go? Although I say rapid-fire, it tends to be, I was joking with another guest a few weeks ago, it tends to be more like a slow roasting. but okay what's a habit that you have that you think contributed to your success i'm afraid this

Starting point is 00:22:50 is not going to be a rapid fire answer my career path was so anomalous uh that i i really wouldn't wouldn't recommend it to anybody because i i started right away even before i emigrated to the states which was in 1980 you know to uh to look at charles ives to look at boulez to look at everything that my teachers would would have steered me away from maybe you can say that's what it was because it turned out all right in the long run is that i was i was interested in out of the way repertoire from a very early age because you know thanks to my dad always coming back to my dad i i was familiar with the standard repertoire pretty early or most of it anyway so uh since i was always very curious it came there came a point really rather early on where

Starting point is 00:23:39 I just wanted to look at whatever else there was. And that caused me to look at some pretty wonderful and strange things. In my case, it worked, but I wouldn't necessarily recommend that to any young person who is starting. Because one, I think, is still expected in this world to do homework before playing in the sandbox, as it were. So to study Beethoven and study Chopin and study Schumann and Liszt and Mozart and Bach and play them in concert. And I did these things, but I also did a lot of arcane repertoire, especially in recording. So I'm not sure that my career path was the best. However, it ended up working for me, although it kind of took a while.

Starting point is 00:24:30 Yes, I love that. You talk about curiosity. I mean, the piano repertoire is just, it's a horn of plenty, and there is just no end to it. If you dig deep, you can find some really pretty wonderful nuggets. And I'm perfectly aware that there's a large proportion of it, which is junk. I mean, if you look at 19th century salon repertoire, that'll never come back, for example. um and certain repertoire like rack time and novelty piano is only while very good is only applicable to certain circumstances i think the music the piano music of percy granger for example which is very intricately and and immaculately put put together is still only suitable for concert for for recordings and not really for concert use at this point that may change but for now i think that's what it is and to my mind uh parenthetically i think granger was just

Starting point is 00:25:29 as important as someone like bartok was because he he collected uh tons of folk song material about folk songs himself and recorded them you know and used them in a concert setting as as bartok did but bartok really is the one who survived um so anyway i'm getting lost in my argument here no but i really agree with you there's there's so much to be discovered when one really goes and explores a little bit as a matter of fact i'm very involved right now with the music of foray the piano music of foray and um it might seem like it's a it would be a rather ordinary pursuit word not for the fact that i mean foray is of course a very established composer but for certain things only uh his songs are absolutely you know immortal and of course we

Starting point is 00:26:28 have the requiem we have uh and things like that and of course the uh the piano quartets and quintets but the piano music of which there is a lot is still largely unexplored by pianists and I'm actually involved in a project right now to record a sizable portion of it. But I'm giving myself time. This is not music that one can rush through and rehearse, record. Far from it.

Starting point is 00:26:58 Because to make it sound really, really like what it should be requires a great deal of time to penetrate the subject matter. And how do you do that? Just prolonged acquaintance. Repeating over and over

Starting point is 00:27:13 certain pieces all of the pieces uh delving more deeply through repeated readings and discovering more of what can be done i'm letting things happen i'm not trying to rush the process through and i think that's that's very beneficial i don't have a deadline for this at all well eventually i will because I'll have to abide by a certain recording date. But it's going to be maybe two years into the future, I would say, maybe three. I'm just taking my time here. That's really great to get so acquainted with repertoire.

Starting point is 00:27:54 Yeah, it's music that in its own way has great depth. Some of the nocturnes are really, really fantastic music and I think very noble and aristocratic statements. And their complexity of thought and of pianistic factor really has to be respected and delved into very deeply. What skills do you think young musicians studying today should acquire in addition to learning to play their instruments? Life. Life in general.

Starting point is 00:28:30 i think that and culture i know as broad a culture as possible i mean anything in life can feed into your music in the music that you will produce i mean i i feel very sorry for for students who feel like they have to be in a practice room 12 hours a day their emotional baggage is going to be reduced to the sight of four walls and this black and white beast that they have somehow to tame into producing colors and emotions so live a life yes life and culture it's a more elegant way to say get a life you know i just say live and in reference to what you were just talking about life and culture are very important elements in getting to know this repertoire this foray that you were talking

Starting point is 00:29:30 about oh sure because there is a um there is a nobility a uh a handsomeness that is inherent to this music which i'm not sure i could have conveyed so well at a younger age and as a matter of fact i only learned a couple of foray pieces earlier in my apprenticeship i'm really getting to know the bulk of it only now which in a way is almost the right period to do it because i i feel like i feel i can appreciate it so much more now than i would have at that time mark andre do you have a favorite tool in the practice room the score everything is in the score uh i i you know being a composer i i've gained an immense appreciation for the difficulty in communicating my intentions as a composer

Starting point is 00:30:31 through the the medium of notation and i really feel sympathetic towards composers who have each and every one of them used it in a different way and to varying degrees of success so um i i have a huge respect for the printed score i mean in a way i mean i'm asked sometimes if i have any heroes and you know i i there are some musicians who i i admire very much you know but to me the real hero is the score it seems like a strange thing to say but it's true you know it's funny you're the first one who answered that. And it's so true. That's the very first tool that we have in the practice room. Yeah. I mean, you're probably expecting me to answer metronome or tuning fork. Tuning fork's important too, you know, but in another way.

Starting point is 00:31:21 Do you have a particular book that you would like to recommend to our listeners? Just this minute, practically, I had a very nice surprise. My last visit to Paris, I found the memoirs in two volumes of the publisher Jacques Durand. I mean, we often use the Durand editions for Ravel and Debussy and many of those French composers. But these are recollections of composers and performers by Jacques Durand, who was very, very close to these people. And there's some really wonderful anecdotes there.

Starting point is 00:31:59 i'm i haven't gone through much of it yet but i'm really safe right now and that's just one example i i i mean if i write if i read about music um i tend i tend toward the biographical but also maybe the theoretical as well you know i i have a very good music library as far as books and uh my score library is is something like uh maybe a hundred crates of music yeah i know that i know that every time i i know every time that i have to move it from one house to another is there a performance that has stayed with you throughout the years and if so why i'll answer that indirectly and this gives me a chance to talk about what i think my ideal my my idea of an ideal concert is it's uh one where everything is going

Starting point is 00:32:58 so well that all i have to do is i i feel like i'm just sitting and watching myself play and listening to myself play and it's all happening effortlessly without any kind of uh barrier of fatigue or undernourishment or sleeplessness or anything like that everything is going exactly as i am planning and all i have to do is adjust something here and there and that's a feeling i have had maybe a handful of times in my life there's always something that gets in the way it's always going to be a little something and as you get older you know maybe you're mentally a little bit less sharp so um yeah that's so that's my ideal concert and uh and i

Starting point is 00:33:53 those performances i mean i can't remember where they occurred or whatever that's that's that there's too much to ask but i can say that it has happened at least for part of some of these concerts and that's the secret sauce that everybody wants right how many books are written on that topic how to get to that state of some people refer to it as the state of flow and you know it's how do we get there yeah but it's as i said i mean earlier i mean it's all in the most thorough preparation possible we were talking about memorization if you get to know a piece as well as possible up to the point perhaps where you could even write it out without help of

Starting point is 00:34:41 the actual score whether you could you could you could copy it from memory but maybe you don't have to go to such an extreme although it would help but if you know the piece from all its possible angles then you are more sure to as you say float in performance in performance and i think floating work work i think float is a good word because as i said you know it relates to this feeling that i said i had you know about just watching myself you know and uh effortlessly just having to listen to what is coming out without any kind of barrier mark andre do you have a piece of advice that was given to you that would you would like to pass on to the listener well one of the things that i retained from my early years especially in montreal is a slow practice

Starting point is 00:35:33 and of course as a as an eager youngster you're often tempted to bypass that completely because no you can already play pieces up to tempo where i practice them slow i i'm a very very firm believer in slow practice because it will imprint the music much more successfully in your digital apparatus and in your mind as well there is uh more than one anecdote relating to the fact that rachmaninoff who was one of the absolutely greatest pianists who made uh 17 rpm records often practiced incredibly slowly he would take for example i mean there's a there's an anecdote in the book by abram chastens where uh this where chastens was visiting rachmaninoff and he overheard rachmaninoff practicing just before he rang the doorbell and rachmaninoff was practicing

Starting point is 00:36:32 the uh the chopin etude in thirds and it it's it's thirds in 16th notes in the four four so just to play one bar Rachmaninoff took 20 seconds that's more than one second per third so Rachmaninoff was very very very serious

Starting point is 00:36:55 about this and I think that slow practice especially very slow practice will help everything in the score you know whether it be contrapuntal or harmonic you know print imprint itself into your brain so that it has a better

Starting point is 00:37:16 chance of staying there absolutely you know if i can just go back a little bit because we were talking about that state of flow kind of in relation to certain things that you mentioned i feel like it seems at least for me to go hand in hand with absolutely thorough preparation But also something that I've discussed on a couple of episodes a few weeks ago, but there's also the absence of expectations or the absence of outside expectations. And you were talking about a recital being this one-on-one conversation and playing by memory and removing things that were maybe in the way of you having this conversation with your listeners, but removing these obstacles between you and the public, such as the score and the page turner. but I agree with you this I've had some of these moments and it seems to be this combination of thorough preparation but also getting to a point where I'm focused solely on what's important which is playing music and just enjoying the moment playing for the public removing outside expectations

Starting point is 00:38:35 removing stakes feeling like there's something at stakes well yeah and I think that uh what I was saying about preparing as as much as you can what it would also do is what it will also do is build confidence and therefore you are more free i think you're more liable to feel free about communicating with the public and with less intimidation absolutely so to conclude do you have a quick actionable tip that listeners could implement today in their practice room if i can answer this maybe in a more general way never take music for granted it's easy to trivialize the process it's easy to trivialize repertoire always remember what you're doing what you are celebrating the absolute miracles of human creativity that you

Starting point is 00:39:34 are communicating to the public you know and bringing to life i i'll always remember the first time i ever heard the the berlioz requiem live actually it's the only time i did but it was uh it was at the it was at the university of pennsylvania i remember and i was just bowled over first of all the the the you know the tuba middle movement uh which has four brass choirs at the four sides of the hall i mean just just not be sideways but uh also the uh the solo tenor the tenor solo movement the santus i thought was just a one of the most heavenly thing that i ever heard and uh you know i was i was really moved by this and and all i heard afterwards were the uh were the people uh choristers discussing oh yeah the the the

Starting point is 00:40:28 the tenor had a lot of trouble with that B-flat and everything. And they just didn't seem to have any kind of appreciation of what they had just produced. And that actually angered me. And, you know, however many times one hears or plays, you know, the Franck Violin Sonata or the Frank Sinatra, as they call it, never forget what a miracle it is. And that's just one example, you know, and I could say that about so many, many things.

Starting point is 00:41:02 What a beautiful and meaningful answer. I love it. Thank you so much. Thank you. You're welcome. Marc-André, thank you so much for taking the time to sit down with me and answering my questions and spreading your wisdom to my listeners. I truly appreciate it. It's my pleasure.

Starting point is 00:41:21 It's always wonderful to do things like this. Thank you guys so much for listening. I hope you enjoyed this conversation with Marc-André Hamlet. I feel like it's so refreshing to hear about the pure joy of performing and communicating with an audience from someone like him. It's really the point of it all and something that we must absolutely keep in mind. I hope you take a few minutes to check out Marc-André's website and catch some of his performance videos, including those where he plays his own music, and you'll see his amazing artistry and engagement when he performs. I've put, of course, all those links in the show notes. And I would love to know what your favorite takeaways from today's conversation was, so please get in touch with me.

Starting point is 00:42:13 I am MindOverFinger on both Instagram and Facebook. and of course you can find me at mindoverfinger.com where you can read the show notes and find more information about mindful and deliberate practice make sure to visit my resources page where i've put links to all my favorite tools recordings and websites as well as the books recommended by my guests here on the podcast and don't forget to sign up for my newsletter to be the first to know about special trainings on practicing that are coming up this spring and to receive your free guide to a super productive practice using the metronome. Finally, just a few words about the Mind Over Finger Tribe. This is my private Facebook group where I pop in once a week to

Starting point is 00:42:55 talk about mindful practice and answer your questions. These days, we're reading The Inner Game of Golf by Tim Galway. We're studying it and applying it in our practice. So get the book and join the tribe at facebook.com slash groups slash Mind Over Finger Tribe and let's get in the flow together. So that's it for today. Again, thank you and à bientôt.

The Mind Over Finger Podcast - 060 Marc-André Hamelin: Musical Offering

There aren't comments yet for this episode. Click on any sentence in the transcript to leave a comment.