Sigma Alpha Iota

28 Winter 2026 • sai-national.org RECOLLECTIONS: A PIANIST'S ESSAYS ON TEACHING, PERFORMING, AND LIVING by Robert Weirich Piano Education Press, 2023 This collection of essays began as columns and are still relevant today, though almost all were first published between 1984–2018 in Clavier ("A View from the Second Floor" and "Out of the Woods") and Clavier Companion ("Winds of Change"). The author opens each of the book's sixteen thematic sections with an introduction for selected posts therein. There are a total of ninety-one in the volume covering a variety of interesting topics, including teachers, competitions, memorization, performers, and pedagogy. Weirich has loved the piano ever since he saw an upright player piano in his grandmother's farmhouse living room. In second grade, he began taking private half- hour piano lessons for $1.75. A graduate of Oberlin Conservatory of Music and recipient of a Doctor of Musical Arts degree from Yale University, he has enjoyed a stellar musical career teaching at prominent universities, concertizing, conducting, and composing as well as being a prizewinner and an artistic director. An articulate and clever (at times, downright funny) wordsmith, the author relies on his own experiences as student, teacher, soloist, chamber musician, and community organizer to pen thoughtful subject matter. Both optimistic and realistic, he shares his musical philosophy and expertise writing about various topics, at times interjecting corroboration by renowned musicians, such as two Vladimirs— Horowitz and Ashkenazy— and prominent authors like critic Anthony Tommasini. This three-in-one publication— memoir, autobiography, and guidebook— appeals to all musicians, particularly pianists and piano teachers of all ages and levels. Some of his key points follow: He emphasizes the pleasure of having an audience and suggests ways to increase its size. He describes on page 27 a stellar performance as "one in which the listener comes away feeling exalted by the beauty of the music and renewed by the emotional truths that the music holds." He defines aréte and states unequivocally that ideal performances are never the same; rather there are infinite possibilities. By the way, he assures readers aréte carries over to other endeavors. He poignantly contrasts watching the Super Bowl with attending a live recital. No wonder he claims the results of the latter last a lot longer than a football score! Realizing only a select few musicians ever become superstars, he champions the positive impact from skills acquired in a musical education (focus, concentration, stamina, discipline, and humanity) on other careers. He highlights the fact that teachers have different skill sets from performers without making instructors less important in the musical world. He lauds the glory of live performances and shares unforgettable ones he has attended; thus I recalled mine. A firm believer that the arts are essential to education, he recommends innovative ideas to change curricula at all levels. He relates experiences with his own teachers, even two early ones: his first teacher Vera Getz, who struck a musical spark for him; and his band director George Toot, who instilled a passion for music. Of particular interest are his remarks on memorization, a circus trick of Franz Liszt and an evil Weirich thinks is not necessary. On page 269 he notes: "I'd like to think that audiences are much more interested in hearing great music than seeing pianists perform without music." Why? Because the quality of a performance has nothing to do with a score—visible or not. His tributes to Mozart and Bach are deeply touching. His sample program notes are not intimidating. He praises the partnership and teamwork (often resulting in friendship) from playing chamber music. He closely journals the path of one of his students, Stanislav Ioudenitch, who shared first prize in the Van Cliburn International Piano Competition in 2001. He has a lot to say about the structure of most music competitions, apparently agreeing with Charles Ives who thought competitions were for horses. He details the alternate procedure of the Gilmore Artist Award. Perhaps his greatest hope is to see an increased appreciation of classical music in today's society. He provides ways this might happen. Referring to the value of piano playing itself, he concludes on page 308: "The young may be chained to their entertainment systems and never notice, but we will have known—and told—of better glories." Throughout the almost 400 pages of the book, he provides insights fascinating and absorbing. I couldn't put it down. However, since he ends most essays by engaging readers with personal comments or challenges, I recommend extending the reading pleasure for three months by savoring one essay each day. Recollections is available wherever books are sold, and the publisher has offered a special discount for readers of PAN PIPES. Please see Opportunities (page 32) for a coupon code. By Jayne I. Hanlin (see bio on page 21) Bk Reviews

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