Over the years I have observed that the rigid protocol in classical music whereby solo performers, especially pianists, are expected to play from memory seems finally, thank goodness, to be loosening its hold. What matters, or should matter, is the quality of the music making, not the means by which an artist renders a fine performance.
Increasingly, major pianists like Peter Serkin and Olli Mustonen have sometimes chosen to play a solo work using the printed score. The pianist Gilbert Kalish, best known as an exemplary chamber music performer and champion of contemporary music, has long played all repertory, including solo pieces (Haydn sonatas, Brahms intermezzos), using scores. As a faculty member of the excellent music department at Stony Brook University, Mr. Kalish spearheaded a change in the degree requirements in the 1980s, so that student pianists could play any work in their official recitals, from memory or not, whichever resulted in the best, most confident performance.
Yet there is still widespread and, to me, surprising, adherence in the field to the protocol of playing solo repertory from memory. This season Mr. Tharaud took a little flak for performing recitals in New York using printed scores.
In October at the Greenwich Village music club Le Poisson Rouge he played excerpts from his delightful new Virgin Classics recording “Le Boeuf sur le Toit,” taken from the name of the club that became a haven for Parisian cabaret during the Jazz Age. The next night Mr. Tharaud played a standard program at Weill Recital Hall with works by Scarlatti, Ravel, Chopin and Liszt. At each concert, rather than performing from memory, he used scores, something that Steve Smith, who reviewed Mr. Tharaud’s Weill recital for The New York Times, did not even mention. It was not worth commenting on. The news, as Mr. Smith made clear, was Mr. Tharaud’s absorbing and mercurial performances.
http://www.nytimes.com/2013/01/01/arts/ ... 1&ref=arts