Why you should also play music you don’t like

It is one of the myths that musicians always play music to which they have a deep connection, which inspires them, which transports a secret message…
But sometimes a piece matches to a program which is on your “private blacklist”, music you don’t like to listen to and you never in your life wanted to play. ( Confess it: every musician has a list like this in his head….).

But to embrace a piece which you don’t like can be one of the most powerful lessons for all your preperation routines:
1) You don’t want to work it – so be efficient!
2) You don’t enjoy hearing it – you never get carried away from practising into just fun playing! ( important in EVERY piece you are working to know when it is work time or pleasure)
3) You need to “sell” it – find a way that maybe also you but for sure the audience enjoys listening, so look at it with the loving eyes of its composer or with the eyes of researcher showing why this piece is important for this special program or instrumental history

…. and maybe you will fall in love with it then also!!!

P.S.: I will not tell you which piece inspired me to this blogpost – and you should never give anybody your private blacklist, especially your audience should NEVER be able to find out which pieces are on it!

Author: Heike Matthiesen

classical guitarist

4 thoughts on “Why you should also play music you don’t like”

  1. Ridiculous advice.

    With today’s millions of sheetmusic titles from all possible styles

    Brazilian to completely different Peruvian;
    Bach to completely different Couperin to completely different Gaultier; Fuenllana to completely different Milan;
    Simone Molinaro to completely different Attaignant;
    Sor to completely different Carulli to completely different Mertz;
    Granados to completely different Julian Arcas;
    Albeniz to completely different traditional Flamenco;

    it is downright absurd to collect and play “everything”, since that would actually derail culture and personality; instead delivering a “standardized, sterilized, shrink wrapped package” of everything.

    The audience reserves the right to vomit and walk out of concerts if the musician plays things that he does not like.

    Therefore: A musician should not play things he does not like. Let someone else play it, who actually likes it.


  2. I,m all right at 50% . In the work and life of musician no its posible ever the free election of pieces or compositors (only for the first line) its necesary to be an actor in the some, perhaps many, recitals. The actuation in live must be have a little theater, in ugly pieces for the solist in these case of guitar, too!


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