The performance of music does not happen in a book or in isolation. What sounds good,
seems possible or seems as if it should be so in the practice room sometimes does not
work on the stage. This is especially true in the matter of intonation.

Ideal performance situations are extremely rare. Usually any, some, and on occasion,
all of the following factors may not be perfectly suitable: the condition of your
instrument, your health, your attitude, the relative importance of the concert, the
amount of rehearsal time, the condition and temperature of the hall, the size and
acoustics of the hall, the chairs and stands, the lighting, the dressing rooms, your lodging and transportation, the weather, the food, the fee, the printing of the programs, the pre-concert publicity, the size and mood of the audience and the critics.

The problems seem to multiply geometrically as the number of performing artists on the
playbill increases, since all are experiencing the same things. And this is not to mention life at home and whatever personal stress you or your partners may be undergoing.

But no matter what the conditions, you must play as if your life and reputation depends
on tonight's performance. It does.

In time, every aspect of performance will seem to conspire to ruin or embarrass you.
Be ever prepared, vigilant, flexible, tolerant, and above all, retain your sense of humor.

If you feel or require that every note in each performance must be completely and
exactly as you imagined it or achieved it in one ideal moment of practice or rehearsal you will invariably be disappointed, depressed and embarrassed at the end of every performance.

If you feel or require that your instrument must be perfect or else you will not experience or produce a musical or inspired artistic evening you will almost always be
crushed.

Never believe your own publicity.

Do not let praise totally go to your head.

Do not take negative criticism completely to heart.

If any, all, or a combination of factors contrive to drag you down to a level of performance less than supremely professional--if not inspired--you will not survive.

Performance is more in the nature of allowing things to happen rather than making things happen. Every performance goes its own way, has its own character, follows its own path.

Be flexible.

Tonight's performance might be more introspective than last evening's exhilarating performance.

During a performance it is usually your primary task to let the music play itself. To go against the flow of a performance is a prime cause of musical disaster.

The details of your interpretation must be flexible enough to allow for the fluid
variables inherent in the act of performance. Within the framework of your general conception, from night to night you must be able to flow with a range of tempi,
dynamics, colors, attitudes and centers of pitch.

Naturally, your performance of a work will also change from evening to evening and
from year to year as you grow both musically and personally.

It is wrong to plan out every detail of the performance of a work. To do so will put a
damper on spontaneity, discourage sensitive listening and promote the stale and pedantic recitation of a living art form.

Performance is the balancing of the spontaneity of the moment and the conceptual design of the work filtered through your study and understanding.

As a performer it is your responsibility to reflect the intentions of the composer, but
it is your right to project your own personality. For performance is also the balance of the intimate relationship between yourself and the composer.

Performance is the unveiling and presentation of every musical relationship.

Performance is the balancing of emotion and intellect; guts and nerves; will and
soul. Performance is action and energy.

Performance is ego and sensuous enjoyment.

Treat every day as if it was a day of performance; treat a day of performance as if it was everyday.

On the day of the performance the matter of food and drink--how much, what, where and when--is completely individual but must be given careful thought. The same is true
in the matter of warm-up time.

Whenever possible, always allow plenty of time for travel to the hall on the evening
of the performance. Anticipate transportation delays and weather conditions.

In the minutes before the performance, some people need to be alone and quiet. Some
need to be active and in the company of others. Do what is right for you, but avoid superstitions, extremes of behavior and artificial stimulants or suppressives.

There is nothing more beneficial to a performance than to be well-rested, since
tonight's performance will demand your utmost. It is also usually advisable to spend at least a portion of the afternoon of the day of the performance resting in bed by sleeping, reading or relaxing.

A great deal about delivering an effective performance is learning how to prevent
yourself from doing inane, ineffective or self-destructive pre-concert preparation.

Performance nerves must be anticipated, then focused towards the heightening of the
musical experience. If you are not nervous, then your performance will probably be
lifeless and inert. If your preparation for the performance is immaculate, then you will more than likely still be nervous, but you will never be afraid.

However, you must also be sensitive to the fact that your fellow performers are trying
to control and balance the same types of stresses that are in you and forces that are on you. During a performance you must act or react according to the needs of the moment. So as a performer you must have the strength of character and will to
continue playing beautifully even if those around you are falling apart for one reason or another.

If an upcoming performance looms dramatically important because of infrequency of time on the stage, you will more than likely not do very well because of self©imposed pressure.

Pay careful attention to your concert clothes. At the very minimum you must always be clean, neat and appropriately attired. At best, you should be fashionable, elegant and impeccably tailored. Every item of your wardrobe must be not only comfortable but of the finest quality and in first rate condition. At the first sign of wear any item must be
replaced.

Chairs and music stands should be completely functional, noiseless and attractive.

Your sheet music itself must be in good condition, be prepared so as to minimize hasty page turns and be visually unobtrusive to the audience.

Entrances, exits, acknowledgements and bows must be choreographed, practiced and
rehearsed with as much care as you give to your music, your instrument and your
appearance.

Each stage and hall has its own eccentricities of acoustics and lighting. There are dead spots and live spots; dark areas and light areas. It is your responsibility to determine the proper spot to perform in. It is advisable to make friends with the stage manager, lighting technician, backstage crew, recording engineer and head usher. Whenever possible always insure that the stage itself, the seats, the floors and the aisles are clean.

Performance is work. It is an exhaustive physical, mental and spiritual trial. Between the lights, your nerves and the physical workout, you can usually count on being drenched with perspiration and having to fight the continual struggle to keep on pitch. During a performance you may be struggling, fatigued or pained, but the audience must only see your courage, ardor and elan.

Take care that the physical expression of the music through either facial or bodily
gestures always remains within the realms of good taste. Your gestures should never
distract the listener or detract from the performance.

On the matter of memorization, either memorize or don't memorize according to what is right for you to best help you express yourself and the music. Never allow the fact that music is in front of you to become a musical crutch or a physical and emotional barrier between you and the audience. Never allow the fact that you have no music in front of you so stifle your spontaneity or cause you to freeze up if any musical irregularities
occur during the performance.

On the matter of which edition of music to perform from, you must find, study and use
whatever edition is most faithful to the composer's autograph score.

The programming of a performance is a balance of the following factors: the interest of yourself and the audience; tension and relaxation; styles, composers, tempi, characters and tonal centers; endurance; publicity and ticket sales.

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