In their words: a closer look at the Collaborative Conference opening session artists.

A day in my life is usually filled with practice, trying to relax, schoolwork and reflection--more practice and sleep, but not always necessarily in that order. Like many other young pianists striving to make it, a lot of my time is spent sitting in front of the piano trying to make sense out of the score in front of me, while not going completely crazy. There are some things that I've learned that will hopefully be helpful in finding a good balance between work and play that I'd like to share.

Practicing

Since much of my day is spent learning music, I'll start with practicing. There really are no secrets here, but just some strategies that I use to help get the most amount of work done in the time I have to practice. I enjoy playing and performing a lot, especially when I feel ready. For that reason, I have to practice a lot in order to feel ready. I believe if one wants to do anything well, hard work is the key. There are many talented people with natural born techniques, but unluckily, I am not one of them (although my teacher seems to disagree!). In order for me to feel secure and free on stage, I have to really spend the time to work on every detail. I've also found that just reading the score and thinking about it away from the piano really helps me to understand the music better. This way, I can have the ideal performance in my head and then strive to bring those sounds out when I sit in front of the instrument. It is very important to have a focused practice, rather than spending six hours and get nothing done. When I practice, I try my best to stay focused all the time. Sometimes, it is very frustrating to practice the same passage over and over and still not get it right. However, I try really hard to clear my mind every time I sit in front of a piano and concentrate on the music that I am about to practice. One of the keys to a good practice, especially with a new piece, is starting from slow practicing. This actually saves time in the long run, even though it may feel slower in the beginning. I also start with the hardest sections from the piece I am going to practice and work on them slowly and with different kinds of rhythms until I feel more and more comfortable with it.

To me, there are two different kinds of "difficult sections." First, are the sections that are technically difficult. In other words, those sections that are not easy to play physically. Second, are those that require a very sophisticated voicing and certain kinds of sound. In other words, those places in the score that focus more on tone production and interpretation. Tone production requires very careful listening. I practice these kinds of sections very slowly and listen to each note that I produce. Sometimes I sing through a melody to get a feeling of how this phrase should be played (and have even lost my voice because I sang so loud in the practice room!). Unlike string instruments or voice, the piano can be a rather percussive instrument if one is not careful of each and every tone. Luckily, I also played the violin for six years, and I think this experience has really helped me with piano music. When I play the piano, sometimes the music requires a string-like sound. This is very abstract but because of the experience I had with violin I can imagine what the sound would be like on the violin and try to reproduce the sound on the piano as closely as possible.

Competitions and Performing

When I prepare for a competition or a performance, I divide all the repertoire that I have to play into two parts. This strategy has helped me get through a lot of repertoire when I prepare (something my teacher taught me that really works). I first practice one half of my music slowly and with great detail. After I feel comfortable with my practice of the first half, I will run through the second part of my program at the end of the day. After running the second part, I then make notes on what I should work on for the next day. The next morning, I start practicing slowly and detailed for the second half of the repertoire and then run through the first part of the music (trust me, it's much less complicated than it sounds). In order to have a successful performance, practicing hard and smart is the key. When I get tired of practice, I will remind myself to look at the bigger picture. There is no substitute for practicing. If I don't work enough, I get really nervous on the stage. Nobody wants to sound bad on a performance because it is not only embarrassing, but unfair to the audience who comes to hear music.

I like to think of both competition and recitals as performing opportunities. I find it harder to perform for a recital, but I get nervous before both kinds of performance. I think it is absolutely normal to get nervous. To go on a big stage by yourself and sit in front of so many eyes staring at you is somehow understandably nerve racking. It is easy to make mistakes or perform below your standard when you are not secure. When I perform, I try to not be nervous by telling myself that being nervous doesn't help. I find myself the most relaxed on stage when I am only thinking about music and how I want to communicate through music with the audience. My goal is to make people feel like it was an experience when they listen to me and share the music with me.

When playing in a competition, no one can always be the winner. My teacher told me that probably one will always lose more competitions than one wins. It is, of course, disappointing when I work so hard and do not get recognized. However, I think the purpose of attending a competition is not just about winning. By attending competitions, you hear many other people from around the nation or even from around the world and learn a lot from listening to them. I always reexamine my performance after losing. If I find that I did not perform my best on the stage, I try to figure out the reasons for doing so. Whether it was because of nervousness, or other issues, I write it down in my notebook and hopefully next time I won't make the same mistakes again. Attending a competition is also great because it inspires you and makes you work harder by listening to all those amazing pianists and provides chances to make new friends! I know no one can always be the winner and my goal is to just work hard and try my best to express and transfer my appreciation of the music to the audience.

How I Relax

Yes, I do think it's important to do things besides just practice. When I take a break from practicing, I read, browse online or listen to music (from Chinese pop to Coldplay). I love reading all kinds of books, especially Chinese fiction and poetry. I am always impressed by how beautifully the poets can play with their words. It is hard for me to put my feelings into words because I often feel like words are limited and therefore incapable of expressing everything. I believe Mendelssohn was right when he said that "Music expresses that which words can not." Poetry shows me another great way to express oneself besides music. I love reading fiction because when I am reading it, I forget everything that stresses me out. I can sink into the story and get into another character. Music sort of does the same thing for me. When I play different pieces, I get into different characters or modes so I can fit into the character of music better.

I also find reading all kinds of books very important because music is very much related to literature. By understanding the historical background of a certain genre or piece of music, we sometimes come to understand the meaning of music better. I think music is not just an isolated art, as all arts are related. I believe it is very important to have a broad knowledge because music is only a part of a cumulative form of self-expression. None of the arts stand by themselves alone.

Now for a little secret: it is a little embarrassing, but I also play games on the Nintendo DS. The DS is kind of like a Game Boy. I just got it a couple months ago and ! play it a little bit before I go to bed to relax myself. It helps me to stop thinking about music and other deep and intense things. Oddly enough, it really does help me relax. There are probably not that many girls playing video games, and I used to laugh at my little brothers when they were playing. Now I've become the one who plays games while they have already stopped playing a long time ago!

Reflection and Balance

I moved to the United States by myself three years ago when I was 15 to attend the Interlochen Arts Academy. Since I could not really spend time with my family, I hung out with my friends on campus. Looking back now, Interlochen was a wonderful place for me. It is located in a small, tiny town in northern Michigan. It was here that I could really focus on my art making since there were not many distractions. The good thing about living in a small town is that one is so close to nature. The fresh air and beautiful sunsets released my stress. While I was still in high school, I walked around the campus whenever I was stressed. One of the unique things about living that far north was that it snowed a lot during the winter. I loved walking in snow because everything was so quiet. I find walking in nature helps me relax and I can think more clearly. Now I am in the San Francisco Conservatory of Music as a freshman, and while it's a great place to live and study, I really miss being around nature and seeing the crazy squirrels jumping around!

One of the most important things I have learned from all of this is that it is very important to find a balance between music and other things. Whether it be a walk in the snow, a gaze into the sunset, the latest Harry Potter book or a simple game of Mario, all these things give balance to my life and allow me to be ready for another day of practice, relaxation, schoolwork and more practice ... but not always necessarily in that order.

--Lo-An Lin with Yoshikazu Nagai

Lo-An Lin, a freshman at the San Francisco Conservatory of Music studying with Yoshikazu Nagai is the winner of the 2006 MTNA Senior Piano Competition and Silver medalist of the Missouri Southern International Piano Competition.

Yoshikazu Nagai, professor of piano at the San Francisco Conservatory of Music has been recognized by the NFAA for excellence in teaching. Nagai gives frequent master classes throughout the United States and Asia.

On a warm sunny morning in Thunder Bay, Ontario, I jump out of bed very early My alarm reads 6:00 A.M. I realize it's competition day. It's hard to sleep when you are not home in your own bed. This bed is a sponge but the dorm is very nice and cool (I sleep in an attic at home, so that's a real treat.) I went to bed last night at 8:30. The first step to doing your best is to get plenty of sleep. Now I need a refreshing shower.

As I walk to the campus cafeteria here at Lakehead University, I think about the day before, the first day of competitions. I listened in on two competitors. Very impressive. This is the National Music Festival, and some of the best musicians in Canada are here. I feel very honored to be representing Nova Scotia. I am one of eight pianists, and will be competing this morning at 10:00. I arrive at the cafeteria and have toast, chocolate milk and an apple. I am never that hungry before a competition. It is important to eat something healthy for energy, though.

Now I am off to the practice rooms. My accompanist Roger Lord and I are playing the Shostakovich Concerto No. 2 and I am playing the Rondo Capriccioso by Mendelssohn. We have practiced together over the last few days and I am feeling quite confident. I like to run through my program slowly and warm up my fingers. My former teacher, Barbara Hansen (who taught me from age 8 to 12) always told me never to drill the day of a competition. John Hansen, piano professor at Acadia University in Wolfville, Nova Scotia, took over from Mrs. Hansen, but they both stay very involved in my life. Unfortunately they are not here, but my mother Elaine is. She is pretty cool and is keeping her distance. I like to be by myself so I can focus better.

Well, it is time to put my suit on and walk over to the venue where I will perform. As I arrive I see my mom, and she looks nervous but tries not to show it. Roger and I meet up back stage, and the competitor before me is still playing. I think about the pieces I will perform, and run through in my mind all that my teacher John and I have discussed: how certain passages need to sound to be effective, and where I need energy and control. The Rondo by Mendelssohn is tricky. John is always reminding me to play light in the fast section, yet it is very difficult to play articulately and quick! A note missed is very obvious. The Shostakovich is exciting and fun to play. I have had four other accompanists play with me, including John, so I am confident with it. John and I also went to Montreal to see Marc Durand late spring. He spent three hours with me. We flew up that morning and came home that night, so it was quite a day. As I run through all this in my mind, Roger gives me a nod and wishes me good luck. It's time to go out and play my solo.

It's very exciting when I go out on stage. I love performing. All that practicing and lesson time is finally put to the test. I sit down, take a moment and get comfortable. I try to relax, yet always being aware of my posture. I picture myself in the audience listening. How do I make this interesting to the listener? The Mendelssohn has a beautiful opening. As I begin, I realize the keys are wet from the last performer, so this is a new experience for me! I am a little concerned for the upcoming fast section. All is going well, but coming down on an arpeggio I hit a wrong note. Oh darn, I thought. Now I must play every note perfect and erase this from their memories ... and yes, it goes very well. I am pleased! Roger comes out on stage and we begin the Shostakovich. As I said before, I feel very confident about this piece because I have performed it often. My challenge is making shapes and keeping it interesting with a lot of energy. This is such a fun concerto to play. There is something about being on stage that brings it to life. Roger and I are very connected and it feels great. At one point, when the page is turned, he misses a bar. Funny, but it was a section where John told me to act worried, so this came naturally. We continue and the excitement is there. We play all three movements, and I feel it went very well. The audience applauds, and I am now relieved it's over.

The results were to be announced Saturday morning. So I had the rest of today to just enjoy until tomorrow arrived. I felt I had played my best and hoped I would place, but I realize there is some luck involved. That night, they had arranged to take us all out for supper and some sightseeing. We had a great time.

Saturday morning we all went to our workshops, and I met Michael Kim, the piano adjudicator. He spent some time with each competitor and had some great comments. We continued on to another building for first-place announcements. When my name was not announced, I was disappointed, but they said there was still an award for best performance of a piano concerto. This would give the winner an opportunity to play with the Royal Conservatory of Music Orchestra at the Collaborative Conference in March 2007, Toronto. I remembered Mrs. Hansen telling me about this last year, because she and John are members of the CFMTA. The Grand Award Competition was this evening and the winner would be announced along with second- and third-place winners.

The Awards Ceremony was held in a beautiful Community Auditorium in Thunder Bay. The competitors marched in with their own provincial flag. I was asked to carry our Nova Scotia flag. The first place winners performed throughout the night. Then the other awards were announced at the conclusion of the concert. To my great amazement and shock, I was the winner of the Concerto Competition. I was so excited. I also received third place overall. So it was quite a night.

I am very fortunate to have been chosen to play my concerto this coming March in Toronto. I will also be attending the graduation ceremony to receive my Associate of the Royal Conservatory of Toronto (ARCT). The 2006 National Music Festival was an awesome experience, and I am so lucky to have had great teachers help me in my achievements. Thanks to the CFMTA, MTNA and RCM for this opportunity.

--Lucas Porter

Lucas Porter, 15, is currently studying with John Hansen at Acadia University Wolfville Nova Scotia, and is also receiving instruction from Marc Durand through the MusicPath program. Porter completed an Associateship of the Royal Conservatory of Toronto at age 14.

Lucas Porter has been my piano student for the past three years and, before that, from the age of 8, he studied with my wife, Barbara Hansen. Lucas has the girl, the self-discipline and the perseverance that promises a bright future in music. He also has had the good fortune to receive support and encouragement from his family and from the Canadian cultural community.

From an early age Lucas insisted on hearing classical music. Listening to great music has become a passion for him. He has competed from an early age in local and regional music festivals and at age 9 entered his first national competition, placing third in his age group in the Canadian Music Competition. As Lucas makes clear in his own words, he is a serious competitor. Subsequent to his third place finish, he placed second the following year and this past year he placed first. He really thrives on competition, but at the same time, he recognizes and takes delight in the talent of others. Lucas is blessed with a wonderfully open character and is genuinely humble, while maintaining very high standards for himself.

When he performs he becomes extremely focused. At that point, you have to just leave him alone. Lucas is a very reliable performer. He knows how to internalize a musical score. He has an acute ear and an accurate memory. He is physically well coordinated and has a wonderful youthful energy that can be electrifying at times. Once the performance is over, it's time to relax and Lucas's favorite treat is dinner at Boston Pizza.

While living in rural Nova Scotia, Lucas has also benefited from proximity to Acadia University and the resources available to him through its fine School of Music. One of these resources is a project called MusicPath, which connects two digital acoustic pianos over advanced high-speed networks allowing one pianist to play both pianos at the same time, though the instruments are hundreds of miles apart.

Assisted by video conferencing, MusicPath creates a new learning dimension for both teacher and student. Quoting from an article in the New York Times by Colin Campbell (Thursday, March 11, 2004): "Every two weeks, when Lucas plays a piano at Acadia University, a short drive from his home, his teacher, Marc Durand, sits listening 700 miles away at a second shiny black grand piano at the Royal Conservatory of Music in Toronto. With a built-in computer and tiny solenoid pistons, the piano springs to life there as though being played by a ghost initiating every key stroke and pedal movement that Lucas makes ... (Teacher and student) interact as if they were two people alone in the same room."

Marc Durand teaches at the Glenn Gould School at the Royal Conservatory in Toronto and the University of Montreal. We have maintained ongoing MusicPath sessions with Marc, and over the years he has become a true mentor to Lucas.

Lucas is a multi-talented student and a delight to teach. He has earned his many accomplishments through hard work and dedication. He has marvelous parents who completely support his musical ambitions and guide his choices wisely. He is a fortunate and deserving young man and, more than a student, has become a friend.

--John Hansen

John Hansen is director of the School of Music at Acadia University in Wolfville, Nova: Scotia. He is active as a piano soloist and chamber musician, having performed in Canada, the United States, Great Britain, France, Italy and Germany.