Puts me in mind of this quote from Pratchett’s Soul Music:
Lord Vetinari, the supreme ruler of Ankh Morpork, rather liked
music.
People wondered what sort of music would appeal to such a man.
Highly formalized chamber music, possibly, or thunder and-lightning
opera scores.
In fact the kind of music he really liked was the kind that never got
played. It ruined music, in his opinion, to torment it by involving it on
dried skins, bits of dead cat and lumps of metal hammered into wires and
tubes. It ought to stay written down, on the page, in rows of little dots
and crotchets, all neatly caught between lines. Only there was it pure. It
was when people started doing things with it that the rot set in. Much
better to sit quietly in a room and read the sheets, with nothing between
yourself and the mind of the composer but a scribble of ink. Having it
played by sweaty fat men and people with hair in their ears and spit
dribbling out of the end of their oboe … well, the idea made him shudder.
[...] Then he picked up the third movement of Fondel’s Prelude in G Major and
settled back to read.
I wonder if anyone does this with music they’ve never heard played before?
Glenn Gould was said to sometimes analyze and completely memorize works from the sheet music alone before playing them at the piano. His father recalled an instance of him learning an entire concerto from the score alone and then playing it from memory the first time, and Bruno Monsaingeon saw him play an entire movement from memory of a Mendelssohn string quartet after hearing it once on the radio (quoted in Bazzana’s book on Gould).
That pales in comparison though to the fourteen-year-old Mozart transcribing from memory after once hearing the secret Miserere of Allegri, a dense polyphonic work that was performed only in the Sistine Chapel and was forbidden by the Vatican to be transcribed or reproduced under penalty of excommunication.
I’m by no means an expert at the piano, but I’m probably halfway there, and I can without too much trouble get the general gist of complex unfamiliar piano music, and I can easily read simple music. I’d say it’s pretty much analogous to the ability of expert chess players to play blindfolded, which is definitely a well-attested ability. (The record for simultaneous blindfold matches is around 50, played by Janos Flesch in Budapest in 1960.)
Puts me in mind of this quote from Pratchett’s Soul Music:
I wonder if anyone does this with music they’ve never heard played before?
Glenn Gould was said to sometimes analyze and completely memorize works from the sheet music alone before playing them at the piano. His father recalled an instance of him learning an entire concerto from the score alone and then playing it from memory the first time, and Bruno Monsaingeon saw him play an entire movement from memory of a Mendelssohn string quartet after hearing it once on the radio (quoted in Bazzana’s book on Gould).
That pales in comparison though to the fourteen-year-old Mozart transcribing from memory after once hearing the secret Miserere of Allegri, a dense polyphonic work that was performed only in the Sistine Chapel and was forbidden by the Vatican to be transcribed or reproduced under penalty of excommunication.
I sometimes found piles of sheet music sitting around in my high school’s music room, and I’d read them once in a while.
I’m by no means an expert at the piano, but I’m probably halfway there, and I can without too much trouble get the general gist of complex unfamiliar piano music, and I can easily read simple music. I’d say it’s pretty much analogous to the ability of expert chess players to play blindfolded, which is definitely a well-attested ability. (The record for simultaneous blindfold matches is around 50, played by Janos Flesch in Budapest in 1960.)