In modern conservatoires pupils are trained to play the correct notes. This is, sadly, a grave misinterpretation and trivialization of the intentions of classical composers.
Beethoven, Chopin and Liszt, to name but three, would all perform their music spontaneously, with strong feeling, leaving an indelible impression on their listener. It was not uncommon for audience members to faint during a performance by Liszt, as did Anton Rubinstein. Wrong notes were of no consequence - the strength of feeling, a spell cast on the audience, now that is worth going for.
Chopin's advice to pianists was not to practise for more than two hours; to listen to opera in order to develop a singing tone at the keyboard; and in between times to view works of inspiring beauty, such as paintings in art galleries.
The modern pianist, who has often been misled by conservatoires and betrayed by the whole system which seeks to 'commoditise' music, is practising 8 hours a day, worried silly about hitting a wrong note (why 'hit' any note at all?), playing Beethoven's Tempest Sonata without ever viewing Shakespeare's play of the same name which inspired it. And we are wondering why audiences are feeling unmoved?!
Schumann wrote about the Philistines who were controlling and commoditising art, and saw his role as the little man, David, who could stand up to them, and speak out for genuine contemporary art, if only for a small group of fellow believers. He could this group the 'Davidsbundler', and wrote a piece called Davidsbundlertanze for them.
